|Antoine (Jean-Pierre Léaud) and Colette (Marie-France Pisier)|
This is Truffaut’s short film followup on the character of Antoine Dionel (Jean-Pierre Léaud) from The 400 Blows. Antoine is now 17 years old and living in Paris. After getting shuffled around a bit he ended up in the hands of a young psychiatrist who took a special interest. He was released on probation and developed a life for himself. However, it’s a solitary one in which he works at a record company and goes to Youth Concerts. It’s the kind of life he said he wanted in The 400 Blows, but now he finds himself drawn to Colette who also attends the concerts.
Being who he is, he approaches her in a awkward manner rather than a straightforward one. Once he develops a relationship with her he does what any boy with his head screwed on correctly would do. He packs up and moves into an apartment directly across the street from her. I don’t want to ruin the film, but needless to say the relationship doesn’t pan out.
This film has more cinematic fun than The 400 Blows. We get Truffaut’s beloved iris shots, more Hitchcock references, and clever uses of transitions. My favorite part is when he sits down to have dinner with Colette and her parents. It looks almost identical to the dinner sequence in The 400 Blows except this time he is with parents who not only love Colette, but treat him like his parents never did. Somehow we doubt that Antoine appreciates it because he is obsessed with Colette.
You can see this film without seeing The 400 Blows, but you won’t get nearly the same enjoyment out of it if you don’t. It’s like watching one of the Up documentaries without having seen the previous ones. I highly recommend you see both.