Bed & Board

Part four of a loose pentalogy. We return to the life of Antoine Doinel two years after the events depicted in Stolen Kisses. Now he is married to Christine and they are experiences the first problems and trials in their marriage. They live in a tenement block and are surrounded by very unusual neighbors. We get to see old friends and in the forefront we see this married couple arguing. The result is typically Truffaut with all the trimmings. The relaxed atmosphere at the beginning is great, but after Alphonse is born the tone of storytelling should have shifted to a more serious note, because this way the crisis that follows doesn’t seem so serious. There are just too many weak moments here for Truffaut, but then the always cute Claude Jade lifts the mood. In any case, this picture is great, despite several areas that I have objections to. (01/26/2007)

Since Stolen Kisses, François Truffaut's protagonist has aged several years, married, and fathered a child, but he has not matured. His emotional immaturity, which was sympathetic in Stolen Kisses, now seems ridiculous in Bed & Board. His boyish romanticism and enthusiasm for new things disqualify him in a situation where he should show responsibility and practicality in taking care of his family. This comically-themed story about the crisis of a marriage is also interesting in its depiction of life in a suburban apartment building with many interesting characters - Doinel's window leads to the courtyard, so the camera always has the opportunity to capture the micro-stories of the tenants and their small dramas. Overall impression: 75%. (08/09/2008)

Antoine and his troubles for the fourth time and in a version that could have been the best. In the first hour, he carefully works on outlining the family situation through credible everyday episodes, the main characters are scattered in the middle of a million times seen setting, and then, at the moment when he should capitalize on this effort, he does the exact opposite. The inevitable split trivializes, the reactions of individual actors border on caricature, and The Family Hearth is needlessly knocked down. And I don't understand it, because Truffaut never lacked detachment, I like that about him, but I like the sense of urgency even more. But he lost it here and only the first and last parts of the Doinel series remain sufficiently serious. The three middle ones always suffer for being told in the structure of a genre joke, where the form, despite the strength of the material, outweighs the content. (07/26/2024)