Unfortunately, L'Amour en fuite is a most unsuccessful end to the five-part Antoine Doinel series, as Truffaut himself realised. After (in order) Les Quatre cents coups, Antoine et Colette, Baisers volés and Domicile conjugal, this is a very thin story of divorce, pursued love and former love held together by the past. And the past is represented in scenes from the films which preceded this. Of its kind, this is one autobiographical story too many.
Interestingly though, Jean-Pierre Jeunet seems to have taken a few cues from this for Amélie Poulain, and I can't help thinking that there's an element of autism in Doinel too.
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