Antoine and Colette

Antoine and Colette (1962)

*** 1/2 (out of 4)

This 30-minute short from Francois Truffaut was originally a part of the anthology film LOVE AT TWENTY but it got its own release since many considered it the stand out entry. It also serves as a sequel to THE 400 BLOWS as Antoine Doinel (Jean-Pierre Leaud) is now out of trouble, living and working and soon he finds himself falling for a woman named Colette (Marie-France Pisier). At first Antoine believes that the two are starting a good relationship but before long it's clear that the woman has a different mind set. I guess the simplest thing to say is that the ladies in France aren't much different than the ones in America when it comes to confusing a young man and breaking his heart. I really thought this was an extremely good film and a worthy follow-up to THE 400 BLOWS, which by many, not myself, think is the director's masterpiece. I really liked how Truffaut didn't just give us the same type of story and instead of the tense drama he treated us to quite a few sweet scenes that have a touch of bittersweetness to them. I think most adults watching this are going to realize what's going on with the "relationship" but the film also takes you back to the days of youth when being naive was just part of the game. Both Leaud and Pisier are excellent together and the two of them really shine in regards to their performances. The cinematography is excellent as you'd expect and there's no doubt that Truffaut handles the material with care.

Or, Antoine finds out the hard way that it's really really important to read some of the signs that are there with a young woman who isn't reciprocating a kiss or even the holding of hands. He isn't actually quite so sympathetic as he is in the 400 Blows, but maybe the mid teenage years are just the absolute worst for someone who in partucular didn't have any guidance or role models when it came to a proper relationship - though we don't get it in a flashback here, remember how the only affection Antoine saw in his youth was happening to see his mother with another man making out on the streets - and his old buddy Rene isn't much help in the ways of romance or earning a woman's affections.

If there's anything that may make us go "ah no don't do that merde" in a kind of awkward way that shows his ignorance less than maliciousness, it's when he rents the space right across the street from her. What may still endear us to Antoine is that he realizes that he's all kinds of screwed up in reading the signs (ie the scene at the movie theater), and then that gut punch at the final dinner. Not to mention that all through this Leaud is still a compelling and sorrowful little force here, channeling a fine line between innocent and too much with his records and his fascination with Collette.

It's a short so we can only get so much, but it's like a bittersweet slice off of a piece of fruit to chew on before we get to the next Doinel (mis)adventure - the sweetness, lastly to note, coming from all that classical music that was so big with the youth then (oh, Antoine just wait till she meets the Beatles, but I digress). 7.5/10.

Poor Antoine (Jean-Pierre Léaud)... he stalks Collette (Marie-France Pisier) like any teenager follows a girl around. They keep bumping into each other, and he realizes she must live nearby. AND... they both appreciate music. She DOES string him along, and Antoine does everything he can to impress her and observe her every move. We watch as Antoine goes through the usual teen angst, trying to win over the woman he loves and hoping for the best. Truffaut had been in the business almost ten years when he made this, and one wonders if this was from his own life experiences; it WAS also written by him. Truffaut was nominated three times for Director and Writing... and sadly died young at 52. Did you notice Truffaut as "the French scientist" in Close Encounters ? One of the last roles he played as an actor. Antoine et Collette is pretty good. It's a bit dated, when they explain how records are made (records?? what are those ?) Showing on Turner Classics now and then. Pretty good. some sadness, like all good Truffaut films!

Truffaut made his grand entry into full length cinema at the young age of 28 with the classic masterpiece 400 Blows which is a semi-autobiographical tale of his childhood. Then, he went on to make three other movies in which he experimented with some humour(Tire-au-flanc 62 and Tirez sur le pianist) and then with crazy love (in Jules & Jim).

But all the while, he felt like he hadnt said enough about the story of Antoine in 400 Blows - that film ends quite enigmatically, leaving the viewer wondering how that kid turned out. So, Truffaut decides to make the short-film 'Anotine & Collette' to pacify the eager fans with news of Antoine, that he's OK, he's alive, he's now a young adult, independent, working at Phillips making records to earn his living and not stealing typewriters and the like. Maybe he had always this concept in mind - to use the same actor for the role of the same character which is why he had to patiently wait for Jean-Pierre Leaud to age, to play the role of Antoine.

And if you've loved/liked the 400 Blows, then you must also surely remember his best-friend René, the guy who Antoine stays with after being expelled from school, to play poker, drink wine and smoke cigars. He has a small role to play in this film too - they're still good friends, talking about the good old times (scenes from the 400 Blows) And, he is still played by the same actor, Patrick Auffay, which shows a kind of progression, a continuation. Well, René was always the more confident and self-assured person, with loads of money to help, so he gets along well in life, has a good relationship going with a girl, which is expressed in those few scenes where they compare their 'amours' and René gives advice to Antoine to progress from 'the chase' to 'the attack' and get the girl.

But Collette does not have any interest in Antoine despite all his attempts to woo her with regular visits, concert-dates, and other 'moves' which i wont disclose. Antoine even follows René's strategy of writing letters, but that doesn't seem to work either. Now, once again the viewer is left in the middle of a stage in Antoine's life. What will become of Antoine, will he get to be with Collette, or will he get over her, will he find somebody new and will he actually succeed with this somebody new??? Stay tuned to the same Truffaut-channel, Antoine Doinel-time, for, about six years hence, will come Baisers Volés!

(TRIVIA - Collette played by Marie-France Pisier, makes a reappearance in Amour en Fuite, the last film in the series)

Lastly, the song, 'Love at Twenty' played at the end with those scenes in different parts of Paris, along the Seine, in the parks, and on the streets, is just beautiful!!

"It could end badly, or it could end well... ...but thats Love at the age of Twenty!"

While it is a sequel to 'The 400 Blows', I would consider 'Antoine et Colette' to be the first Antoine Doniel centered film to really establish the overall series. 'The 400 Blows' really feels like a stand alone movie, while its follow ups feel somewhat separate from it, but still focus on the same main character and do reference the previous film. Regardless, 'Antoine et Colette' is a very fun, charming, and grounded short film that takes on a much more comic and lighthearted tone than its predecessor while still remaining at least somewhat mature. It doesn't come close to reaching the masterful heights of 'The 400 Blows'; however, it's still great and just as entertaining and doesn't really deserve all this constant comparing I'm doing.

Particularly successful in this short are its characters. Not only is the central character of Antoine Doniel as fascinating as ever, but so are those around him. Colette and even Colette's parents are likable and charming people and seeing them all get into this simple-yet-complicated situation is really engaging. Both Antoine and Colette are sympathetic, and both of their sides of the story are simultaneously understandable and (at times) somewhat pathetic. Truffaut gives us plenty of moments over the course of the film's half hour runtime to cringe at Antoine's awkward obsession with this girl, and, especially towards the end, the girl's own flaws come more into light, making for a compelling, yet extremely mild, central conflict.