The Adventures of Antoine Doinel [Criterion Collection] [5 Discs]
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Aspect Ratio:
Widescreen Rating:
NR-
Language:
Eng Studio:
CriterionUPC:
715515013529Year of Release:
2003Item Number:
HVD001603Release Date:
04/29/2003Genre:
Childhood Drama –
Comedy Drama –
Coming-of-Age –
Drama –
Film a Clef –
Foreign Films –
Romance –
Romantic Comedy –
Romantic Comedy –
Romantic Drama –
Urban Comedy
Format:
DVD
MOVIE DESCRIPTION:
Legendary filmmaker Francois Truffaut followed the life of one of his favorite characters from rebellious adolesence to irresponsible adulthood over the course of five brilliant films collected in this boxed set. The Adventures of Antoine Doinel traces Antoine (played by Jean-Pierre Leaud) and his ongoing battle against proper society in the movies The 400 Blows (aka (Les 400 Coups), Antoine and Colette, Stolen Kisses (aka Baisers Voles), Bed and Board (aka Domicile Conjugal), and Love on the Run (aka L'Amour en Fuite). ~ Mark Deming, Rovi
DVD FEATURES:
- Number of Discs: 5
- Audio: Dolby Digital Stereo
- Aspect Ratio: 2.35:1 (Cinemascope)
- Screen: Enhanced Wide Screen Letterbox for 16x9 TV
- Features:
- New digital transfers for all of the Doinel films, enhanced for widescreen televisions
- Two commentaries for The 400 Blows, one by film professor Brian Stonehill, the other by Robert Lachenay, lifelong friend of Francois Truffaut
- A multitude of rare interviews with Truffaut and his collaborators, including actors Jean-Pierre Leaud, Claude Jade, and Marie-France Pisier, and co-writers Claude de Givray and Bernard Revon, chronicling the Doinel cycle
- Les Mistons (1957), Truffaut's second film, about a group of pubescent boys whose admiration of a young girl takes on an edge of cruelty, with unforeseen results
- Theatrical trailers for The 400 Blows, Stolen Kisses, Bed and Board, and Love on the Run, plus promotional art
- 72-page book featuring a comprehensive assortment of Truffaut's own notes, outlines, and treatments for the five Doinel films, along with essays by Annette Insdorf, Kent Jones, Andrew Sarris, Noah Baumbach, and Chris Fujiwara
- English subtitle translations
AWARDS
Academy of Motion Picture Arts and Sciences
- Nominated Best Foreign Language Film - 1968 (François Truffaut)
- Nominated Best Original Screenplay - 1959 (François Truffaut, Marcel Moussy)
British Academy of Film and Television Arts
- Nominated Best British Film - 1960 (François Truffaut)
Cannes Film Festival
- Won Best Director - 1959 (François Truffaut)
French Academy of Cinema
- Won Best Music - 1979 (Georges Delerue)
French Film Critics Circle
- Won Prix Louis-Delluc - 1968 (François Truffaut)
Hollywood Foreign Press Association
- Nominated Best Foreign Film - Foreign Language - 1968
National Board of Review
- Nominated Best Foreign Film - 1971
- Nominated Best Foreign Film - 1969
National Society of Film Critics
- Won Best Director - 1969 (François Truffaut)
New York Film Critics Circle
- Won Best Foreign Film - 1959
ADDITIONAL INFORMATION:
Cast:
Jean - Pierre Leaud - Antoine Doinel
Robert Beauvais - School Director
Delphine Seyrig - Fabienne
Marie - France Pisier - Colette
Hiroko Berghauer - Kyoko
Claude Jade - Christine Doinel
Claire Maurier - Mme. Doinel
Claude Jade - Christine
Claire Duhamel - Mrs Darbon
Michel Lonsdale - Georges Tabard
Barbara Laage - Monique
Dorothee - Sabine Bamerias
Albert Remy - M. Doinel
Daniele Gerard - Servant
Daniel Mesguich - Xavier Bamerias
Guy Decomble - The French Teacher
Daniel Ceccaldi - Christine's father
Billy Kearns - M. Max
Patrick Auffay - Rene Bigey
Daniel Ceccaldi - Lucien Darbon
Rosy Varte - Colette's Mother
Dani - Liliane
Claire Duhamel - Mme. Darbon
Julien Bertheau - Monsieur Lucien
Marie Henriau - Divorce Judge
Jean - Pierre Ducos - Christine's Lawyer
Pierre Dios - Maitre Renard
Alain Olivier - Judge at Aix
Christian Lentretien - Bloke in the train
Roland Thenot - Angry telephonist
Julien Dubois - Alphonse Doinel
Alexandre Janssen - Child in Dining Car
Roger Trapp - Hotel Manager
Jacques Demy - Policeman
Jacques Delord - Conjurer
Ada Lonati - "Hotel" owner
Paul Pavel - M. Julien
Jerome Richard - Employee in US Company
Marcel Berbert - Employee in US Company
Francois Truffaut - Man in Funfair
Martine Ferriere - Manager of Show Shop
Yvonne Claudie - Mme Bigey
Nobuko Mati - Kyoko's Friend
Jacques Robiolles - Water
Folco Jacques Monod - Commissioner
Serge Rousseau - Unknown person
Jacques Cottin - Mr Hulot
Martine Brochard - Mme. Colin
Catherine Lutz - Mme. Catherine
Chantal Zugg - Child
Georges Flament - M. Bigey
Joseph Merieau - Person in Courtyard
Simono - Conjurer's Friend
Henri Virlojeux - Night Watchman
Daniel Boulanger - Tenor
Frederique Dolbert - Child
Francois Darbon - Adjutant
Yvon Lec - Contract employee
Joseph Merieau - Man at Garage
Marius Laurey - Police Clerk
Marianne Piketti - Violin Pupil
Annick Asty - Mother of young violinist
Jeanne Moreau - Woman with Dog
Emmanuel Clot - Emmanuel, the pal printer
Nicole Felix - Employee in US Company
Andre Falcon - M. Blady
Christian Brocard - Man with Typewriter
Kika Markham - Anne Brown
Jacques Rispal - M. Cohn
Jacques Robiolles - Cadger
Jean - Francois Adam - Albert Tazzi
Jacques Jouanneau - Landlord
Marcel Mercier - 1st man in yard
Pierre Repp - The English Teacher
Claude Vega - Strangler
Marie Dedieu - Marie
Luc Andrieux - Gym Teacher
Marcel Mercier - Man at Garage
Richard Kanayan - Abbou
Guy Pierrault - SOS Employee
Marie - France Pisier - Colette Tazzi
Jean Douchet - The lover
Pierre Fabre - The sneerer
Jean - Claude Brialy - Man in street
Pierre Maguelon - Bistro Customer
Christine Pelle - Secretary
Claude Mansard - Examining Magistrate
Jacques Rispal - Pensioner
Sylvana Blasi - Tenor's wife
Serge Moati - Boy
Marie Irakane - Housekeeper
Daniel Couturier - Boy
Ernest Menzer - Little man
Serge Rousseau - The Stranger
Christophe Vesque - Boy
Christian de Tiliere - String puller
Robert Cambourakis - Mme. Colin's Lover
Monique Dury - Madame Ida
Iska Khan - Koyko's Father
Harry Max - M. Henri
Renaud Fontanarosa - Boy
Ryu Nakamura - Japanese SecretaryDirector:
François TruffautProducer:
François Truffaut, Marcel BerbertScreenwriter:
François Truffaut, Marcel Moussy, Claude de Givray, Bernard Revon, Marie-France Pisier, Suzanne Schiffman, Jean AurelCinematographer:
Henri Decaë, Denys Clerval, Néstor AlmendrosComposer (Music Score):
Jean Constantin, Antoine DuhamelSongwriter:
Charles TrenetComposer (Music Score):
Georges DelerueSongwriter:
Laurent VoulzyEditor:
Marie-Josephe Yoyotte, Agnès Guillemot, Martine Barraqué-CurieProduction Designer:
Jean-Pierre Kohut-SvelkoArt Director:
Bernard Evein, Claude Pignot, Jean MandarouxSet Designer:
Jean-Pierre Kohut-SvelkoSound/Sound Designer:
René Levert, Michel LaurentFirst Assistant Director:
Philippe de BrocaMusical Performer:
Alain Souchon
REVIEWS:
- Dedicating the film to his mentor Andre Bazin, 27-year-old critic-turned-director Francois Truffaut put his critical views into practice in his debut feature, The 400 Blows (1959). Unlike the French "Tradition of Quality" literary adaptations that he reviled, Truffaut looked to his own childhood for the source of Antoine Doinel's delinquent exploits in The 400 Blows, evoking Jean Vigo's Zero for Conduct (1933). Inspired by the stylistics of favorites like Orson Welles and Jean Renoir, Truffaut's moving camera and long takes, combined with location shooting and natural sound, lent Antoine's tribulations a fresh, fluid immediacy that caught critics' and audiences' attention. His innovative final freeze-frame suspending Antoine in an indeterminate future spawned numerous imitations. The Cannes Film Festival gave The 400 Blows the Best Director prize one year after banning Truffaut for his critical harshness; the New York Film Critics' Circle awarded it Best Foreign Film. Released the same year as Alain Resnais' Hiroshima Mon Amour and Jean-Luc Godard's Breathless, The 400 Blows' international success helped put Truffaut at the forefront of the nascent French New Wave. He would continue Antoine Doinel's story in three more features, Stolen Kisses (1968), Bed and Board (1970), Love on the Run (1979), and one short, Antoine and Colette (1962). ~ Lucia Bozzola, Rovi
- The most lighthearted entry in the saga of Antoine Doniel, the low-key romantic comedy Stolen Kisses marks the feature debut of Claude Jade as the lovely music student Christine Darbon. The story follows an absurd trajectory as Antoine works an array of ridiculous jobs and responds with his endearing boyish charm when he fails at each one. Jean-Pierre Leaud is adorably harmless in his exploits, as this is his last film appearance as a technical bachelor. One of the film's best attributes is the performance of Delphine Seyrig as the fashionable and experienced seductress Fabienne Tabard. Their scenes together are touching and funny, a sweet reflection of the film's American contemporary, The Graduate. The deadpan dialogue is full of quirks and spontaneous comedy, while the cynical romance is just comfortable and friendly. The city of Paris is well photographed, and there's plenty of '60s style to soak up, including a whole store of women's shoes. Truffaut seems to be enjoying himself capturing his trademark subtleties and comic moments. Overall, Stolen Kisses is a totally enjoyable experience, strangely filmed during the 1968 Paris riots. ~ Andrea LeVasseur, Rovi
- Though not as well received as some of the other tales in Truffaut's semi-autobiographical Antoine films, Domicile Conjugal has some simple beauty to it. The opening scene with the camera following on Claude Jade's legs walking down a Paris street is a good example of how the French New Wave had fun with filmmaking. Not much happens in the story as the young couple experiences everyday events and petty newlywed squabbles. It looks beautiful, though, as their charming apartment community is populated with eccentric and colorful neighbors. Most notably, the opera singer who is increasingly impatient with his wife acts as something of a symbol of the drudgery of daily married life. Also featured in the supporting cast is veteran Jacques Tati for some genuine comedic bits. As with many Truffaut movies, the funniest parts are in the small details, and the episodic nature of this film is filled with such moments. However, after their child is born, the warmness gives way to a more subdued drama. The scene where Antoine meets his father-in-law in a brothel hallway is treated tenderly, but still has a sobering effect. It's as if his delightful mischief is finally seen as having serious consequences on others, bringing some maturity to his character and causing him to reflect. ~ Andrea LeVasseur, Rovi
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