Bed & Board

Another awesome film to the Doinel series. I feel that this one doesn't work on its own - you really need to see the other movies for this one to make sense. Antoine had the best job ever.

A marvelous installment in the "Antoine Doinel" series. I think of it as a comedic version of Scenes from a Marriage. (Well, I dunno, maybe not, but it sounded like a clever thing to say.) Delightful bits of conversation and little flashes of brilliance... such as the way Antoine is informed of his child's birth. The absolute absurdity of his jobs -- dyeing flowers and then controlling the boats in a scale model harbor -- was a highly amusing flourish as well.

The acting is alright, but the film is comprised mostly of ostensibly humorous bits, and they all fell flat for me.

Much better than Stolen Kisses, it actually seems like a Truffaut film. It's not perfect but Christine dressed up is great.

Completely dull, uninteresting, and unfunny.

- goofiest entry of the Doinel films? this could very well be a personal favorite of Truffaut's for me (apart from the obvious two all-time greats "400" and Jules et Jim") - *extreme Jerry Seinfeld voice* "what's with the French fascination of the Japanese?" - “You’re my little sister, my daughter, my mother.” “I’d have liked to be your wife too.” - Americans pay Doinel for playing with toys in this one, I LOL'd - what makes you fall in love also compels you to fall out of love (as always)

7???????????????????????????????????????????????????????????????????????????????????????Till the day I die?

Another amusing and fairly charming entry in the series, with two likeable leads and perhaps a little bit of self-critique on Truffaut's part. Admittedly, not everything really works or goes anywhere, but it's never dull and it provides enough pleasure in its observations about the details of everyday married life to justify 100 minutes of the audience's time.

French daily life, historic fabric and more. Doinel's adventure keeps going. We can obviously see the difference between American cinema and French cinema in terms of approach, via the Kyoto&Doinel affair, to love. Or forbidden love?

Little bit drop off from the previous film but still pretty good and charming.

Christine Doinel: "I don't like this business of writing about your childhood, dragging your parents through the mud. I don't know much, but one thing I do know - if you use art to settle accounts, it's no longer art."

This got so boring I did not watched the last in the series.

Touro.

Truffaut's cute-freshness attacks again.

Another watchable but ordinary entry in the Doinel saga, Bed and Board finds its chief protagonist struggling with infidelity and the increasing responsibilities of adulthood. It benefits greatly from the natural chemistry between Leaud and Jade, which makes their romance, as well as their scenes of domestic drudgery, seem authentic and believable. On the downside, the jokes are hit and miss and there is a slightness to it that's hard to ignore, even when it's being serious.

(...) Vergleichen wir den ersten Antoine Film mit diesem, wird deutlich, wie sehr sich Truffaut als Filmemacher wandelte. Er hat sich zu einem der freundlichsten und kultiviertesten Autoren entwickelt und die Antoine Reihe zu einer Art Autobiographie ausgebaut (wiederum neun Jahre später sollte er die Serie vollenden). Sie resultiert nicht aus Truffauts Leben, aber aus seiner Kunst (...)

In which Doinel becomes more complicated (i.e. 'real') and potentially somewhat unlikable, but it makes the film all the more engaging for that reason, albeit the film itself is maybe sort of problematic on certain levels (i feel like entire academic papers could be written about whether the Kyoko character is a racist caricature or if Doinel's fetishization of her is a critique of Western imperialism etc.)

80.000

this time antoine struggles with (in)fidelity. as the series continues it's increasingly leaning toward insignificance.

Consistently wonderful, laugh out loud funny at times, and effortlessly heartfelt. I'm pretty surprised that it's not mentioned more compared to Truffaut's other classic efforts.

5 August 12 & ince detaylari ile gulduren, erkege ve erkegin evlilige olan bakis acisina dair durumlar ile ilerleyen bir film. antoine doinel karakteri ile gercek anlamdaki kisisel bagi bu filmde kurdum. bu acidan filmin benim icin ayna gorevi goren ve bir sekilde acitan bir tarafi da var.

useless... unnecessary to watch.

The M. Hulot part was hysterical. God, I love Truffaut.

Slow, with only occasional wit and humour until a pretty good third act. Shot with Truffuat's beautiful style, so even the pointless and undeveloped parts are enjoyable.

Meanders a bit, but Truffaut's directing is still magic. Probably the funniest of the Doinel films.

This entry in the Doinel series really surprised me. For whatever reason I wasn't expecting this to be the most perceptive Doinel film, but it is. I also wasn't expecting it to be so funny. The first two-thirds are full of great gags and moments.

Nice Movie

The most bittersweet entry into the Doinel cycle so far, yet also the most romantic. Truffaut's direction still has that fantastic light touch to it, but there just aren't as many of those memorable sequences that populate his other films. Doinel is still a charming character, but with age he's become less sympathetic. The ending sequence is great.

It doesn't do enough to separate itself from Stolen Kisses, but that's not a horrible condemnation, only a minor quibble. All of the little gags hit the mark, giving the film a wonderful energy, even when Doinel is being a pretty terrible husband. A real feat that Truffaut managed to keep that affair funny, and the phone calls during the date gave me some painful reminders of picking the wrong girl as well.

Only slight less amusing and captivating than Stolen Kisses. Truffaut is a keen observer with great wit and energy, and Leaud' Doinel is a compelling figure. I probably have less patience with Doinel now that he's older, but he's still very sympathetic and charming.

Like "Stolen Kisses", this was a bit underwhelming if you compare it to "400 Blows". But on it's own (or as continuation of SK) it's perfectly acceptable. It's a bit more serious than SK and Doinel grows more unsymphatetic.

The problem with the film is that it is too loose. We go through so many episodes that are underdeveloped and cliched -- Antoine as an entrepreneur, Antoine looking for a job, Antoine having a baby, Antoine cheats on his wife -- these are typical situations, and, surprisingly, Truffaut does little to make them seem special. Instead, these 97 minutes feel like they drag on forever.