An intimate and priceless gem.
Gordon Skene | 06/10/2001
(5 out of 5 stars)
"I've seen this film roughly 30 times since it first came out and each time I see it I walk away with some new insight. The Antoine Doinel series shows just how versatile a director Trauffaut was. This is warm and engaging filmaking with elegantly drawn characters of wonderful complexity. And true to Truffaut style, not a single frame is wasted nor does any moment feel false or misconstrued. Trauffaut was an undisputed master and seeing a master work on this intimate a scale is a wonderful, exhilarating experience. I also walk away from seeing this film with a sense of sadness that this was the last of the series and Truffaut is no longer with us."
Puzzle of Love
R. A Rubin | Eastern, PA United States | 06/16/2004
(3 out of 5 stars)
"I enjoyed Truffant's early work, "400 Blows" and "Jules and Jim". They are real landmarks in Cinema, the "French New Wave," but by 1979 Truffant seems to be autobiographical with kiss and tell scenerios. His failures in love are examined. His final success in relationship is a clever romatic answer to a puzzle, a torn photograph of his latest lover. It's not overly convincing, but nobody makes movies with so much poetic conceit as the French. The women are beautiful, but I must say that the two blondes are difficult to tell apart and the captioning does not help. This is a date flick for college educated guy and gal, very romantic and sexy without the plumbing."
Oliver | London, UK | 06/18/2003
(4 out of 5 stars)
"Of other women in Love on the Run, Claude Jade, as Christine, is quite winsome, as always. Christine is easily the most likable character in the film, but Truffaut shuffles her into the background for much of the film. Instead, Sabine occupies the role of Antoine's new love. Played by Dorothée, Sabine is reminiscent of the younger Christine and even exudes some of her innocent charm and grace. But she is not as vibrant a character, mainly because she is not adequately developed as a character until the film's last scene. By then, it's too late. In addition, Truffaut also sabotages Sabine's introduction. She is first seen rolling around on the floor with Antoine. Opening credits obscure much of the dark scene, anyway, and there is a bland pop-lite theme song, "L'amour en fuite," that plays with the credits. Audiences will not know whether to focus on the credits, the murky photography, or the song. It's disorienting. Compare this scene to Claude Jade's simple appearance in "Stolen Kisses", in which she appears like an angel out of the night, waving timidly at Antoine and miming cute, little messages to him through a glass barrier. Furthermore, the fact that Sabine is introduced before Christine even appears in the film is also confusing for audiences, considering that Bed and Board concluded with Antoine and Christine together again. Audiences will eventually realize that the marriage has probably collapsed again, but will wonder immediately, was Sabine the cause? Since we are already familiar with Christine from the previous films, we will instinctively sympathize for her, and since we know nothing of Sabine, we will instinctively view her negatively. Again, it's not flattering and it starts the film off on the wrong note. When last we saw Antoine Doinel (in Bed and Board), he had recently married his sweetheart Christine and their marriage had just survived Antoine's first infidelity with a Japanese woman. Now, in Love on the Run, eight years after their marriage, Antoine and Christine are separated once more. The reason for this marital strife is Antoine's repeated infidelity, although this is conveyed in the film as almost an afterthought. The film does not pause to reflect upon the emotional impact of this new marital crisis. Unlike "Bed and Board", which offered several bittersweet but touching scenes relating to Antoine's infidelity, Love on the Run just throws it in for comic effect and moves right on along."