Polaris_DiB Truffaut's Antoine Doinel avatar returns in a cute movie about a young man newly experiencing marital bliss. This means, of course, that arguments are to be had, babies to be birthed, and infidelity to be explored. Now of course I wouldn't mind a beautiful Japanese woman either, but I'm not married and this turn of events was rather predictable. Nevertheless, it's all romance and good cheer as Doinel slowly learns that he really does love his wife and no other, and grows more and more frustrated with the other woman who expects too much of him. At least it's not Fatal Attraction, but a strange Jan Svankmajer-like flower decomposing scene, followed by a campy reveal, makes the movie a little bit more interesting than your typical domestic drama.Though, to be perfectly honest, I prefer the 400 Blows. Nevertheless! Francophiles will have a lot of fun watching the small urban community that satellites the action, and Truffaut's direction and cinematography is gorgeous in its own right. Just don't expect anything profound in this comedy about a moody young Frenchman feeling a little confused (haven't seen that before, aye?).--PolarisDiB

Queen_of_pentacles i loved this movie for the minute observations of different characters , social scenario of a French neighborhood , husband-wife relationship , birth of a baby , and obviously , the husband's affair , while the wife is still in the process of adjusting with her newly acquired status. Every thing ids so natural ! Taking out of the trinket from the waters . meeting the newly found acquaintance in her apartment , going out for dinners and the wife finding out about the affair ! It touches your heart the way this young couple is trying to make their living , the cute baby , the girls' parents , and the hero's witty remarks , that he loves parents , if they are not his own ! Francis , a genius film maker , has a rare quality of observing the shades of human behavior , which is truly gifted . After all the turmoil, the couple does come to terms with each other , as they really love each other , and every thing else is just a passing phase. Perfectly cast , imaginatively pictured , wittily dialogued , this is a real gem of a world classic movie.

jlabine "Bed And Board" is the fourth installment in the great Antoine Doinel (played by a maturing Jean-Pierre Leaud) film series, directed by Francois Truffaut. This film is really almost as perfect as it's predecessor "Stolen Kisses", and (in ways) almost a sort of remake, using the same characters and similar situations. The story begins with a newly weded Antoine, who works as a flower dyer, while his wife teaches musical lessons. Again, Antoine goes through his life trying to find his occupational and romantic nitch. His occupational endeavors consist of becomming the guy who electronically maneuvers model boats at an American corporation. His wife soon is pregnant with his baby boy, and the idealistic domestication becomes shakey, as Antoine begins an affair with a Japanese girl named Kyoko (played by Hiroko Berghauser). What is somewhat interesting, is the French purest attitude (or small town mind set) that seems to take place in the film. The owner of the American corporation is played by American actor Billy Kearns (can be seen playing Freddie Miles in "Purple Noon") and he's the stereotypical baffoon American. Japanese girlfriend Kyoko, is the quiet reserved Asian that thinks of romantic suicidal notions for Antoine and herself. Another outsider (who everyone in the Parisian village is afraid of, until he's found out to be a comedian/ impersonator and NOT a strangler) is treated with contempt until it has been established through media/ television performance spoken in French. But it seems that Antoine and Christine's happiness is being constantly pulled at, by French outsiders. But I suppose this is what Antoine would like us to think. Still the character who (accidently) lies and cheats his way through life. This is a far more cynical version of love, compared to "Stolen Kisses", yet all the more relevent in it's depiction of growing love pains.The Antoine we see here is more emotionally lonesome than he ever was, yet he's married and has a kid. It still contains some of the greatest romantic moments in cinema history though. The scene where Antoine asks Christine to put her glasses on (one more time) is beautiful. Also the reversal situation of fetching wine from the wine celler, will put smiles on the faces of anyone who'd seen a similar scene as this in "Stolen Kisses". Though Antoine may not be as innocent as he once was in the earlier films, his Antoine is a far more realistic portrayel of men in general. This is truly another wonderful film by Truffaut, that would be as great as "Stolen Kisses" if it had retained some of the innocence. Highly recommended, one of my personal favourites!!! I give this a 13 out of 10!

mikenoel This is the fourth and penultimate film in Truffaut's semi-autobiographical series about the life of Antoine Doinel (Jean-Pierre Léaud). The movie depicts Doinel in the early years of marriage to his childhood sweetheart Christine Darbon (Claude Jade). The picture begins showing Antoine trying to scrape a living selling dyed flowers in the busy Parisian courtyard while his wife teaches violin in the apartment above. If this film was a novel you could rip half the pages out to represent the amount of storyline in the picture. But this does not take away anything from this piece of cinematic magic. Truffauts use of the camera and soundtrack is as usual the making of the film.It is obvious that this film is a one-man creation. How many filmmakers could you say that of today? The balance of characters, incidents and minute side glance at daily living restores your faith that art and craftmanship is making a tender comment on life can make a deep one too. The couple soon become parents and Antoine lands, by pure chance, an unprestigious job in a prestigious American construction company. But Domestic bliss soon tires our hero and he is tempted to the bed of a statuesque Japenese girl. The story is told with Truffauts usual wit and charm and filled with affectionate homages to filmmakers from Jean Renoir to Jaques Tati.