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The Antoine Doinel series (French, 1959-1979)

Updated: Mar 17

Antoine Doinel is a beloved character created by the French director Francois Truffaut. Like Satyajit Ray's Apu Trilogy, the films in this series track the life of its protagonist from boyhood to adulthood. However, unlike Apu, Antoine is a semi-autobiographical character based on Truffaut's own experiences.

Film 1: 400 Blows (1959)


The plot


The first film in the series introduces us to Antoine (played by Jean-Pierre Léaud), a young boy constantly getting into trouble. His antics are mostly childish like writing graffiti on the classroom wall and falsely claiming that his mother had died to explain his truancy. However, some of his capers are more elaborate like running away from home and fencing a typewriter that he has stolen from his father's office.


At the beginning of the film, we see Antoine returning home from school to an empty house and setting the dinner table for his parents' return from work. Our first impression of his mother is that she is hysterical, while his father appears to be happy-go-lucky.


During the film's first half, it is unclear whether Antoine's family situation is merely dysfunctional or if the child is emotionally traumatized. Initially, Antoine seems like a modern-day latchkey kid version of Tom Sawyer. The family lives in a cramped apartment and is strapped for cash. The couple frequently quarrel, and Antoine accidentally witnesses his mother kissing a paramour. He also overhears his father angrily telling his mother she should be grateful he married an unwed mother and gave his name to her illegitimate child. Thus, we discover that Antoine's dad is actually his stepfather.


Despite this dysfunctional setup, the three appear capable of being a happy family at times, such as when they spontaneously go to a movie together. In another scene, when Antoine is reunited with his mother after running away, she is genuinely glad to have him back, as any mother would be. It seems that Antoine's parents are well-meaning but struggling to hold things together.


However, this perception is shattered when the film takes a darker turn. When Antoine is caught returning the stolen typewriter to his father's office, his father takes him to the police station and asks for him to be locked up in a juvenile detention center. Antoine spends the night in jail alongside prostitutes. The most poignant moment in the film comes when Antoine is transported from the city police station to a larger jail in a police van. The eyes of the boy, who has been full of bravado until this point, well up with tears, revealing his deep sense of abandonment. If we are inclined to think this is simply the act of an evil stepfather, the director quickly dispels this notion. Rather than wanting to take him back, Antoine's mother seems perfectly fine with the judge's suggestion to send him to an observation center, her only request being that it be located near the seashore.


The final part of the film depicts some of Antoine's life in the observation center for troubled youth (located near a seashore, as his mother wished) and ends with him managing to escape. The last scene shows him running towards the ocean.


For non-French speakers, the name of the film is puzzling. The French title, "Faire les quatre cents coups," translates to "to do the 400 dirty tricks," meaning to lead a wild life. "400 Blows" is a somewhat inexplicable English translation.


Observations


Friendship


The relationship between Antoine and his best friend, René Bigey (played by Patrick Auffay), is touching. Friendship is a beautiful aspect of human nature, where people offer their companionship without expecting much in return. Like Antoine, René is neglected by his parents, but he comes from a wealthy family. As a result, his parents aren't fighting over money, and their home is spacious enough for René to have his own space.


There is a rather peculiar encounter between René and his father. René has hidden Antoine in his room, and when his father walks in, Antoine quickly hides beside the bed. There is a fleeting moment when it appears René's father has noticed Antoine, but he says nothing. Viewers might wonder if they are imagining this. However, in the second film of the series, when the two friends reminisce about the past, René explicitly mentions that his father might have seen Antoine hiding behind the bed. This suggests that his father was in a hurry to leave for an evening at his club and didn't want to be bothered with parental responsibilities. Additionally, somewhat oddly, he tells René that his cigar allowance will be reduced to three because of some infraction he had committed. This raises the question of whether it was common for young boys in 1960s France to smoke or if this is a commentary on his father's neglectful parenting style.


Not quite Oliver Twist


The observation center where Antoine is incarcerated is a loveless place, but it is not as harsh as the parish workhouse where Oliver Twist famously asked for a second helping. Post-war France was less affluent than it is now, but it was still a first-world country capable of caring for those abandoned by society in a way that poorer countries could not. While nothing can compensate for the lack of a loving family and a child's abandonment, I found myself thinking that Antoine's life is better than those of street children in developing countries. This prompts the question: If before our birth, we were given the option of being born into an unloving family in a wealthy country or a loving family in poverty in a poor country, what would we choose?


Dining


It's interesting to see how people ate during that time. In Antoine's home, there is a tiny dining table with a fruit platter in the middle, and food is directly served onto the plates since there is no space for serving bowls. In contrast, the dining table in René Bigey's house is larger, with a wine bottle, a bread basket, and a serving tray containing cheese. Additionally, it seems that the French finish their dinner with a fruit course. René's father brings a bowl of fruit after their meal is over.


400 Blows was director François Truffaut's debut film and is part of the French New Wave movement, which flourished between 1959 and 1963. The New Wave introduced the auteur theory, which asserted that the director is the true author of the film, using the camera as their pen, rather than the screenwriter. For viewers who aren't concerned with film theories, the film is visually stunning, with an unforgettable portrayal of Antoine and a narrative that engages in every frame. It is also the kind of film where one can discover new nuances with each viewing.



Film 2: Antoine and Colette (1962)


The plot


This short 30-minute film provides an update on Antoine's life. The last time we saw him, he was by the seashore after escaping from the observation center in 400 Blows. We now learn that Antoine was caught within four days of his escape and transferred to a more secure facility. A probation officer took an interest in his case, leading to his eventual release. Antoine is now 17, passionate about music, and works at a record store. He has also fulfilled his adolescent dream of living independently on his own salary. While Antoine's return is less dramatic than Sherlock Holmes' comeback from Reichenbach Falls, it is still reassuring to see that, despite his traumatic childhood, things have turned out relatively okay for him—at least on the surface.


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The film centers around Antoine's infatuation with Colette (played by Marie-France Pisier), whom he pursues after spotting her at a theater. Colette is in secondary school and is surprised to learn that Antoine is already living independently. While Antoine is romantically and sexually obsessed with Colette, she quickly friend-zones him. Antoine's best friend, René Bigey (again played by Patrick Auffay), makes an appearance, bringing humor to the story with a subplot about his obsession with his cousin, who is about to change her hairstyle. René eagerly waits to see if he will still be attracted to her after the haircut.


Interestingly, the character of Antoine is portrayed by the same actor, Jean-Pierre Léaud, throughout all five films in the series, allowing viewers to see both the actor and the character grow up in real life. This approach is similar to Richard Linklater's film Boyhood, which traces the life of a boy named Mason Evans Jr. from ages 6 to 18, with the same actor, Ellar Coltrane, playing Mason throughout. However, while Boyhood was made over 11 years as a single film, the Antoine Doinel series was filmed over 20 years. Using the same actor across various stages of life lends verisimilitude to the story. Unlike Boyhood, the age range covered in the Antoine Doinel series is much wider, and it was fortunate that Jean-Pierre Léaud continued his acting career instead of pursuing a different path, like becoming a doctor.


This short film was part of the anthology Love at Twenty consisting of five short films directed by filmmakers from five countries: France, Germany, Japan, Italy, and Poland. Truffaut directed the French segment.


Film 3: Stolen Kisses (1968)


The plot


We have moved beyond the black and white era into color. Unlike the contemplative style of the previous two films in the series, this one adopts a light-hearted comedic tone. We meet Antoine at 20, three years chronologically from where we last saw him. He is introduced as he is discharged from the army. It is revealed that he had enlisted voluntarily but was consistently AWOL at every base he was stationed. Consequently, he receives a dishonorable discharge, barring him from government or large corporate employment. This storyline is drawn from the director's own life; Truffaut had enlisted at 18 but was arrested as a deserter. French film critic André Bazin secured Truffaut's release and offered him a job as a film critic at his esteemed magazine Cahiers du Cinéma.



The film's plot unfolds along two parallel tracks. One track follows Antoine's romantic and sexual life, while the other focuses on his career.


On the romantic front, Antoine navigates an on-and-off relationship with violinist Christine Darbon (played by Claude Jade). His feelings for Christine remain ambiguous, but like with Colette in the previous film, he is warmly welcomed by her parents. Later in the film, he becomes infatuated with his boss's wife and eventually gets romantically involved.


Professionally, Antoine lacks clear career goals and shifts through four different jobs. He begins with military service, then becomes a night clerk at a hotel. His third job of a private detective forms the bulk of the film's narrative. The ensemble cast at the detective agency, their surveillance of unsuspecting targets, and the nature of their assignments provide comedic highlights. His final job in the film is that of a TV repairman.


Despite following the same character, the light-hearted style of Stolen Kisses diverges significantly from the contemplative 400 Blows. However, for continuity, Colette makes a brief appearance (again played by Marie-France Pisier) when Antoine unexpectedly encounters her with her husband and baby. Albert, played by Jean-François Adam, who appeared as Colette's date in the previous film's concluding scene, now portrays her husband. His transformation from a dashing young man to a responsible father is portrayed with realism.


Observations


Work


Antoine appears unconcerned with establishing clear career goals. In affluent societies, a certain minimal standard of living is guaranteed, affording people the luxury of opting out of the rat race. In a wealthy country, the son of a doctor may choose to become a tattoo artist. However, not everyone can handle the psychological challenges that arise from lacking a structured goal.


By the film's end, Antoine has been fired from three jobs, leaving us with the strong impression that his tenure as a TV repairman may also be short-lived. Despite his professional drift, Antoine exhibits strong engagement in his work as a private detective. During one assignment, where he shadows a magician on behalf of a client, his deep absorption in the task is palpable. He further demonstrates his newfound skills to Christine's family by tracing an address from a phone number for her father, showcasing his ability to apply himself and find fulfillment in his work. This suggests that Antoine has the potential to build a meaningful life for himself, despite his capricious attitude to career.


He is just not that into you


Antoine's feelings towards Christine appear lukewarm in comparison to his intense obsession with Fabienne Tabard (played by Delphine Seyrig), who is significantly older and happens to be his boss's wife. This attraction reflects the human tendency to desire the seemingly unattainable while taking for granted what is within reach. Additionally, at his age, Antoine grapples with intense sexual desire that often overrides long-term considerations.


Upon leaving the army, Antoine's first act is to visit a brothel. The initial encounter with a girl who does not kiss her clients proves disappointing, prompting him to leave. Fortunately, he finds the intimacy he craves with a second girl at the same brothel. This small exchange about the kiss underscores the director's meticulous attention to detail.


Dining


Glimpses of French domestic life and the beauty of Paris enhance the narrative with charm, especially now that we can see them in color.


There are three charming mealtime depictions in the film. In the first, Antoine visits Christine's home after being discharged from the army. Although Christine is absent, her parents warmly invite him to join them at the dining table, which is adorned with a fruit basket, a wine decanter, bread, and cheese. The family uses cloth napkins, reminiscent of restaurant dining experiences.


The second involves Antoine having lunch with his boss, Georges Tabard (played by Michael Lonsdale), and his wife, Fabienne. The table is abundant with bread, fruit, and cheese, similar to Christine's parents' home, and there is also a decanter of wine. For coffee, they move to a seating area within the same room, where the household help brings a tray with a coffee pot and cups. The opulence of the Tabard household is evident, and the entire dining experience is subtly woven into Madame Tabard's seduction of the young man.


In the third notable mealtime scene, Christine instructs Antoine on how to butter hard toast at the breakfast table. The toasted bread is delicate and brittle, making it challenging to apply butter without breaking it. She cleverly creates a double-decker with two pieces of toast and spreads butter on the top piece, which remains intact owing to the support from the bottom toast.


Love and longing in Paris


The scenes of Parisian streets are breathtaking, especially in vibrant color. The film features a rich ensemble of characters revolving around Antoine, each with their own stories. Yet, amidst them, one can't help but ponder the lives and aspirations of the anonymous figures glimpsed in the city shots. One such mysterious character appears to shadow either Antoine or Christine throughout the film. The mystery resolves when he reveals himself as an admirer of Christine, professing his enduring love for her. He appears peculiar, prompting us to reflect on the life events that shaped his character, leading him to declare love to strangers. Perhaps his story is worthy of another film!


While Stolen Kisses stands as a wonderful film on its own, it is best appreciated in sequence, where familiarity and affection for Antoine deepen the viewer's enjoyment.


Film 4: Bed and Board (1970)


The plot


Antoine and Christine (portrayed by the same actors as in the previous film) are now a newly married couple. We learn this indirectly as Christine cheerfully corrects shopkeepers who refer to her as mademoiselle instead of madame. They reside in a modest apartment, where Antoine works at a florist's shop and Christine gives violin lessons.



The florist where Antoine works is conveniently located just opposite their apartment building, while Christine conducts her violin lessons from home. The first half-hour of the film serves as a detailed glimpse into their daily routines, complete with interactions with their lively and somewhat eccentric neighbors.


The narrative gains momentum when Antoine secures a job at an American company. The role is undemanding, fitting well with his carefree temperament. Additionally, the couple welcome a baby boy into their lives. Their marriage appears happy, with Antoine displaying less moodiness than in the previous film. However, things take a dramatic turn when a Japanese delegation from a prospective client visits the office. Antoine finds himself drawn to a young Japanese woman among the visitors, named Kyoko (portrayed by Hiroko Berghauer). They have an affair, though intimate scenes are not depicted. When Christine discovers this dalliance, she ejects him from their home. Eventually, Antoine grows weary of Kyoko, leading to reconciliation with his wife.


Observations


Love, sex and marriage


It's evident that Antoine deeply loves Christine, yet this doesn't prevent him from acting on his sexual desires with other women. In one scene, Antoine visits a brothel where he unexpectedly encounters his father-in-law. The older man shows little embarrassment and suggests that seeking fulfillment outside the home helps maintain domestic harmony.


At another point, Antoine expects Christine to understand his attraction to Kyoko, citing her exotic appeal. Christine appears instinctively empathetic towards Antoine's need for sexual exploration, and her attempts to portray herself as a wounded spouse seem unconvincing. Their relationship appears rooted in a strong friendship. A poignant moment occurs when Antoine tells Christine, "You are my mother, my daughter, my sister," to which Christine responds that she simply wants to be his wife. Perhaps Antoine meant that Christine fulfills all these roles and more. This challenges rigid societal definitions of marriage.


Blue


Antoine and Christine's apartment is designed with a color scheme of a shade of blue, which looks visually beautiful. The curtains are blue, the bed linen is blue, there is a blue vase by the bed and the walls are greenish blue.


Madame Butterfly


Kyoko's character remains enigmatic to both Antoine and the audience. There's an inherent formality in Japanese culture that feels elusive to foreigners. Kyoko's demeanor evokes characters from Ozu's Japanese dramas: polite speech, frequent bowing, and interactions that appear highly ceremonial to foreigners. These elements contribute to her exotic allure and enhance her sexual appeal in Antoine's eyes. However, his fascination eventually wanes. The formal nature of his interactions with Kyoko sharply contrasts with his easy rapport with Christine.


In one notable scene, Antoine dines with Kyoko, frequently excusing himself to use the restaurant's phone booth to call Christine. He vents about the disappointing date with Kyoko, and strangely, his complaints to his wife about his mistress don't seem out of place. During one of these interruptions, upon returning to the table, Antoine finds Kyoko gone, leaving behind a note that bluntly reads, "drop dead!" The Japanese way of behaving may seem formal and performative to a foreigner. But they are human beings like everyone else and hence, it is silly to mistake politeness for acquiescence to our bad behavior.


The French Life


As with the previous films, the glimpses of French life are a delight to observe. Those who grew up in 1980s India would relate to the fact that it was difficult to get a telephone connection in 1970s France. Antoine's father-in-law had to seek help from a senator to get the young couple a telephone connection. And when Antoine makes a call with it, the call is routed to a wrong number-another fixture of 1980s India.


One also notices the sartorial elegance of the men in the movie. When Christine's parents call them home for dinner, Antoine is wearing a tie and so is his father-in -law. In fact, most men in the movie are wearing a tie even in non-work settings. In one scene, where Antoine is not wearing a tie, he has a red scarf tied around his neck on top of a finely tailored coat.


Bed and Board has the same light-hearted breezy feel as Stolen Kisses. We are told that Antoine is writing an autobiographical novel about his life. While we don't get to read that novel, we already know what it's contents are going to be as we have been watching the film adaptation of it.


Film 5: Love on the Run (1979)


The plot


The final film of the series opens on the day Antoine's divorce from Christine is set to be finalized in court. The storyline of this film is sparse, primarily serving to tie up loose ends across the entire series. The film incorporates scenes from the previous four films, which, in today's era of streaming, might feel redundant since few in 1979 were binge-watching all five films at once.


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The film's narrative revolves around Antoine's relationships with three women.


The first is his ex-wife, Christine. Through flashbacks, we learn that Antoine continued to be unfaithful during their marriage, and their reconciliation at the end of the previous film did not endure. Antoine and Christine are the first couple to divorce under France's new liberalized laws, which briefly elevates them to minor celebrities. Christine has custody of their son Alphonse, and Antoine is required to pay 750 francs a month in child support. Antoine now works for a publisher and has completed the autobiographical novel he was writing in the previous film.


The second woman is his current partner, Sabine Barnerias (played by Dorothée). Antoine reconstructs a torn photograph he found in a phone booth and tracks down the subject, Sabine. Part of the allure of their relationship is Sabine's acceptance of an open relationship.


The third woman is a figure from the past, Colette (again played by Marie-France Pisier), whose marriage to Albert has ended, and she is now reinventing herself as a lawyer. Colette unexpectedly encounters Antoine at the courthouse on the day of his divorce. Initially, she considers a romantic relationship with him, but soon realizes her feelings for him remain platonic. Meanwhile, Colette is navigating a somewhat turbulent relationship with a bookseller named Xavier, who, in a coincidental twist, is revealed to be Sabine's brother.


Interestingly, all three women have connections to music: Antoine meets Colette at a music concert, Christine is a violinist, and Sabine works at a record store (where she also dabbles in repairing mechanical watches, struggling to adapt her skills to the emerging digital watch era).

Observations


Happy and sad endings


The end of a marriage is sad. But going beyond marriage, endings can be sad even when what is ending was not that great to begin with. We can empathize with Antoine when he is disconcerted to discover that the divorce decree does not require the couple to sign it. The act of signing a legal document would have granted solemnity to the occasion. An ending, no matter how mournful, feels better with a ritual.


The time gone by


In a subplot of the film, Antoine accidentally encounters Lucien (played by Julien Bertheau), the man whom he had caught kissing his mother in 400 Blows. Through their conversation, viewers learn that Antoine's mother had passed away, during his army incarceration for desertion, a period preceding his discharge when he missed her funeral despite being allowed by the army to attend. It is revealed that after Antoine's stepfather's death, his mother and Lucien lived together.


Antoine and Lucien appear genuinely pleased to reunite. Lucien insists on taking Antoine to visit his mother's grave, a place Antoine has never seen. During a lunch scene, the bill amounts to 19 francs, and Lucien expects Antoine to split it. We detect a hint of disappointment on Antoine's face, perhaps expecting a father figure to cover the bill. Throughout Antoine's childhood, the adults in his life consistently let him down.



It is indeed remarkable that Truffaut made this semi-autobiographical series over 20 years and always used the same actors (except Lucien, who in 400 Blows was played by Jean Douchet). While 400 Blows is the jewel in the crown, the entire series is an absolute blast to watch. Given Truffaut's stature in world cinema, some may approach the series with trepidation. But this film is extremely accessible even to those who are not connoisseurs of cinema.






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