{"id":3461,"date":"2007-07-21T10:05:08","date_gmt":"2007-07-21T17:05:08","guid":{"rendered":"http:\/\/filmfanatic.org\/?p=3461"},"modified":"2024-06-28T12:38:11","modified_gmt":"2024-06-28T19:38:11","slug":"stolen-kisses-1968","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=3461","title":{"rendered":"Stolen Kisses (1968)"},"content":{"rendered":"<p><strong>&#8220;To make love is a way of compensating for death, to prove that you exist.&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Stolen-Kisses-Poster.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Stolen-Kisses-Poster-191x300.jpg\" alt=\"\" width=\"191\" height=\"300\" class=\"alignleft size-medium wp-image-23051\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Stolen-Kisses-Poster-191x300.jpg 191w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Stolen-Kisses-Poster-81x128.jpg 81w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Stolen-Kisses-Poster.jpg 580w\" sizes=\"auto, (max-width: 191px) 100vw, 191px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nNewly discharged from the army, Antoine Doinel (Jean-Pierre Leaud) heads to the home of his would-be sweetheart (Claude Jade), finds work as a private investigator, and falls for an older woman (Delphine Seyrig).\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Delphine Seyrig Films<\/li>\n<li>Detectives and Private Eyes<\/li>\n<li>Francois Truffaut Films<\/li>\n<li>French Films<\/li>\n<li>Jean-Pierre L\u00e9aud Films<\/li>\n<li>Obsessive Love<\/li>\n<li>Romantic Comedy<\/li>\n<\/ul>\n<p><strong>Response to Peary&#8217;s Review: <\/strong><br \/>\nTruffaut&#8217;s first full-length sequel to <a href=\"http:\/\/filmfanatic.org\/?p=3828\"><em>The 400 Blows<\/em><\/a> was this &#8220;witty, sad, insightful meditation&#8221; on subjects as diverse as &#8220;passion, courtship, dishonesty, sex, conquest, and commitment&#8221;. As Peary notes, there are &#8220;countless wonderful moments&#8221; throughout the film, which &#8220;[relies] heavily on improvisation&#8221;, and showcases the theme (one of Truffaut&#8217;s favorites) that when one person is ready for love and commitment, the other usually isn&#8217;t. Unlike in the later Antoine Doinel films, Doinel&#8217;s youthful flitting from one bizarre job to the next &#8212; and one obsessive love to the next &#8212; is amusing rather than sad, and seems right-on. His work as an undercover agent (what an ideal job!) fulfills the longing most film fanatics have to slip into someone else&#8217;s life unnoticed, and his attraction to an &#8220;older woman&#8221; (Seyrig) rings true as well. The film ends on a surprisingly satisfying note, making one long to know what happens next; fortunately, one can satisfy this itch immediately by watching <a href=\"http:\/\/filmfanatic.org\/?p=3698\"><em>Bed and Board<\/em> (1970)<\/a>. <\/p>\n<p><strong>Redeeming Qualities and Moments: <\/strong><\/p>\n<ul>\n<li>An amusing look at the fickleness of desire<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Desire.JPG\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Desire.JPG\" alt=\"\" width=\"640\" height=\"480\" class=\"alignnone size-full wp-image-3460\" \/><\/a><\/li>\n<li>Delphine Seyrig as Antoine&#8217;s &#8220;exceptional&#8221; love interest<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Seyrig.JPG\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Seyrig.JPG\" alt=\"\" width=\"640\" height=\"480\" class=\"alignnone size-full wp-image-3459\" \/><\/a><\/li>\n<li>Effective use of Paris streets<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Paris2.JPG\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2007\/07\/Paris2.JPG\" alt=\"Stolen Kisses Paris\" width=\"640\" height=\"480\" class=\"alignnone size-full wp-image-3458\" \/><\/a><\/li>\n<li>The clever, seemingly improvised script<\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nYes, as a fine follow-up to <em>The 400 Blows<\/em>.<\/p>\n<p><strong>Categories<\/strong><\/p>\n<ul>\n<li>Foreign Gem<\/li>\n<li>Important Director<\/li>\n<\/ul>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/imdb.com\/title\/tt0062695\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.nytimes.com\/1969\/03\/04\/archives\/the-screen-truffauts-lyrical-stolen-kisses-bows.html\">NY Times Original Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;To make love is a way of compensating for death, to prove that you exist.&#8221; Synopsis: Newly discharged from the army, Antoine Doinel (Jean-Pierre Leaud) heads to the home of his would-be sweetheart (Claude Jade), finds work as a private investigator, and falls for an older woman (Delphine Seyrig). Genres, Themes, Actors, and Directors: Delphine Seyrig Films Detectives and Private Eyes Francois Truffaut Films French Films Jean-Pierre L\u00e9aud Films Obsessive Love Romantic Comedy Response to Peary&#8217;s Review: Truffaut&#8217;s first full-length&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=3461\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-3461","post","type-post","status-publish","format-standard","hentry","category-responses-to-peary"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/3461","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3461"}],"version-history":[{"count":9,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/3461\/revisions"}],"predecessor-version":[{"id":98138,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/3461\/revisions\/98138"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3461"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3461"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3461"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}