Bed & Board (1970) - News Poster



Movie Poster of the Week: Jean-Pierre Léaud in Posters

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Starting this week, the Film Society of Lincoln Center hosts a retrospective of the 57-year career of one of the most iconic figures of modern cinema: Jean-Pierre Léaud. The child who grew up and grew old before our eyes, Léaud will forever be associated with one film above all, François Truffaut’s The 400 Blows, made when he was only 14, and its character, Antoine Doinel, who he, in many ways, created. In a letter to his friend Helen Scott in 1962 Truffaut wrote, “I would prefer a film to change its meaning along the way rather than have an actor ill at ease. Jean-Pierre wasn’t the character I had intended for The 400 Blows.” When the Film Society first fêted Léaud, in 1994, in the series “Growing Up with Jean-Pierre Léaud: Nouvelle Vague’s Wild Child” (programmed by my future wife no less), the actor had only just turned 50. Léaud
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Cannes honour for veteran rebel by Richard Mowe - 2016-05-10 10:43:44

The two faces of Jean-Pierre Léaud: (left) as the young rebel with a cause in his first film The 400 Blows and the veteran actor today Photo: Cannes Film Festival

French actor and New Wave icon Jean-Pierre Léaud, who started his career in François Truffaut’s The 400 Blows (Les 400 Coups) will receive an honorary Palme d’or at the closing ceremony of the Festival’s 69th edition on Sunday 22 May.

Léaud made his first appearance on the Croisette in 1959 as the young and rebellious hero Antoine Doinel, a character who continued through Antoine Et Colette (1962), Baisers Volés (Stolen Kisses) (1968), Domicile Conjugal (Bed And Board) (1970) and L'Amour En Suite (Love On The Run) (1979).

Other previous recipients of the honorary Palme include Agnès Varda in 2015 as well as Clint Eastwood, Manoel de Oliveira, Woody Allen and Bernardo Bertolucci in recent years.

Leaud stars as King Louis Xiv in Spanish director
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Watch: Vintage 50-Minute François Truffaut Documentary 'La Leçon de Cinema'

Francois Truffaut lived a life of peaks and valleys, of epochal successes and resounding failures. He is one of the principal architects of France’s nouvelle vague movement, and is generally regarded as one of the 20th century’s foremost cinematic humanists. But how much do we really know Francois Truffaut: the mad, empathetic genius behind such landmark pictures as “The 400 Blows” and “Jules & Jim”? Here to help us answer the question is “Le Lecon de Cinema,” a recently dug-up doc, via Eyes On, from 1981 that takes a good, hard look at the man who once asked “is cinema more important than life?” Read More: Francois Truffaut's 15 Greatest Films The video examines Truffaut’s life and career in astonishing totality, highlighting selected clips from many of his best and most-loved films, including under-appreciated gems like his crackerjack movie-within-a-movie, “Day for Night,” and his tender and insightful portrait of married ennui,
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Watch: 2-Part, 80-Minute Documentary 'François Truffaut: The Man Who Loved Cinema'

“Is cinema more important than life?” That question was once asked by Francois Truffaut, the former Cahiers du cinema critic and pioneering member of the French New Wave who directed over twenty-three feature films over the course of his long and fruitful career. His pictures range from coming-of-age dramas (the immortal “400 Blows”), jazzy gangster noirs (“Shoot the Piano Player!”), evocative slices of 1960’s Bohemian life (“Jules and Jim”), light comedy (“Stolen Kisses,” “Bed and Board”), fantastical childhood yarns (“Small Change,” “The Wild Child”) and many more. His understanding of the language of cinema and how genre could ultimately be utilized to service a story that addressed universal concerns was eclipsed only by his deep and unrelenting love for his characters. Truffaut was, above all, a consummate humanist and his devotion to sincerity above all things has put him at a point of contrast with many of his contemporaries from the
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On 'Boyhood' as Richard Linklater's Truffaut film

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On 'Boyhood' as Richard Linklater's Truffaut film
Richard Linklater's "Boyhood" is a masterpiece. Full stop. It's an effortless piece of humanist filmmaking we don't often see, particularly on these shores where the Hollywood machine has forever altered the concept of what a movie should be, where independent cinema is pushed to the fringes while soaring budget gambles dominate the status quo and the middle ground of American cinema is consistently eroded. "Boyhood" is, at last, I think, the film Linklater has been striving toward his whole career. It is his Truffaut film. When the director was making the press rounds last year for "Before Midnight," I sat down with him and star/co-writer Julie Delpy to discuss their journey with that story and those characters over the course of three films and 13 years. The expectation for more adventures in the life of Celine and Jesse had already set in, and Linklater joked that he would like
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Claude Miller, director of La Petite Voleuse, dies aged 70

Film-maker best known for film starring a young Charlotte Gainsbourg as a teenage serial thief has died

The French film director Claude Miller, best known for L'Effrontée and La Petite Voleuse, both featuring a young Charlotte Gainsbourg, has died aged 70.

Before becoming a director himself, Miller worked for a number of noted new wave directors: he acted as assistant director on Robert Bresson's Au Hasard Balthazar, Jacques Demy's Les Demoiselles de Rochefort, and Jean-Luc Godard's Weekend, before becoming production manager for a string of films by François Truffaut, including Bed and Board, Day for Night and The Story of Adele H.

With Truffaut's encouragement, Miller moved into a higher profile role, making his directorial debut in 1976 with The Best Way to Walk. His first significant success, however, was the multi-award-winning police procedural thriller Garde à Vue, with Lino Ventura and Michel Serrault.

In the mid-80s, Miller
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Truffaut @ 80

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Truffaut @ 80
For its doodle marking what would have been François Truffaut's 80th birthday today, Google needed an iconic image. Not Catherine Deneuve or Gérard Depardieu in The Last Metro (1980) or Isabelle Adjani in The Story of Adele H. (1975) or even Jeanne Moreau in Jules and Jim (1962), but rather, and most obviously, the young Antoine Doinel on the beach. The doodle's not exactly the famous final freeze frame but nevertheless very recognizably the young Jean-Pierre Léaud in what would be both the director's and the actor's debut feature, The 400 Blows (1959).

"It's fascinating to consider the similarities and the differences between François and Antoine," wrote Kent Jones in a 2003 essay for Criterion on Antoine and Colette (1962), the short film in which Antoine, all of 17, falls in love for the first time. Kent Jones notes that Truffaut has shifted the "cultural meeting ground" of the young lovers "from the cinematheque," where Truffaut,
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What’s All The Hulu-baloo About? This Week In Criterion’s Hulu Channel

There are Tons of new releases this past week, and as my co-host and friend Travis George said, it was going to be a hell of a time to write these up for all of you people out there who want to know about Criterion’s blossoming Hulu Plus page. And as usual, I’m elated to tell you all about these films, especially if you want to join up to the service, which helps us keep this weekly article series going. I mean, come on, there’s an Ingmar Bergman film that’s not in the collection yet! More on that at the end of the article. So let’s get right to it then.

The epic film The Human Condition (1959) has been put up, separated into three videos. Parts 1 & 2, Parts 3 & 4 and Parts 5 & 6 are there for your ease of watching, so if you have 574 minutes to kill watching the
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26 Criterion Collection Films Will Expire From Netflix Watch Instantly On May 26th

Well we all knew this would happen. Back in February, when Criterion announced their epic digital streaming partnership with Hulu, they also quietly revealed that their streaming options on Netflix would be coming to an end over the course of the next year. While I haven’t been paying close attention to the Criterion Collection films that have been expiring since that announcement was made, I thought it would be helpful to all of you loyal Netflix subscribers to know that in about twelve days, 26 titles will be expiring on the 26th of May, 2011.

I’ve gone and linked to all of the titles below, so you can click on the cover art or the text, and be taken to their corresponding Netflix pages. While this isn’t everything that Criterion has to offer on Netflix, it is a nice chunk of really important films. If you don’t currently have a Netflix subscription,
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Why I made Submarine

The lead character in The It Crowd star's new coming-of-age tale is refreshingly rotten. So here, writing exclusively for the Guardian, he chooses his A to H of antiheroes

When the Guardian finally came crawling, begging me to prop up its ailing fortunes by graciously condescending to write an article for its so-called "Guide", I was overcome with such a fit of anger at the wormy presumption of it all that I could scarcely finish my mid-morning muffin. But as I stared into the trusting eyes of the carrier pigeon they'd employed to deliver this wretched entreaty, I had a change of heart. Wouldn't this be a good way of trying to convince people to see the film I'd directed (Submarine: a coming-of-age comedy based on Joe Dunthorne's critically acclaimed novel, executive produced by Ben Stiller, and featuring original songs by Alex Turner) without looking like it was flat-out,
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勝手にしやがれ #3: Rohmer (Relatively) Big In Japan

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Here’s a mantra that has served me well: “in Japan, the French New Wave is to cinema what Impressionism is to painting”. Except for Claude Chabrol, the other founding New Wave members—Godard, Truffaut, Rivette and Rohmer—all became staples of the art house scene in Tokyo. This was due not only to the aesthetic impact of the movement on those filmmakers who would become the Japanese New Wave, but also to François Truffaut’s groundbreaking legwork, of coming regularly to Japan, up until 1983, to show his films, and to his relationship with critic and film specialist Koichi Yamada, who published a biography and memoir of time spent with the great director.

François Truffaut’s death shook the film community in Tokyo (in Domicile conjugal Truffaut had sealed the bond between him and Japan). Eric Rohmer’s passing away was commented upon by the specialized film press, while the daily papers,
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勝手にしやがれ: Japanese Film & Media on Its Own Terms, #1: Out of Sight

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勝手にしやがれ (Katte Ni Shiyagare)

In François Truffaut’s fourth episode of the Antoine Doinel saga, Bed and Board (1970), Antoine (Jean-Pierre Léaud) embarks on an affair with a Japanese woman, Kyoko (Hiroko Berghauer), culminating in a restaurant sequence in which Antoine keeps excusing himself to call his wife Christine (Claude Jade). Kyoko exits the restaurant, leaving a small piece of paper on which she’s written, in kanji, ‘katte ni shiyagare,’ a declaration of frustration and independence, of having had enough, which can be translated politely, as above, as well as in a far more casual manner. Antoine is unable to read this of course, it suffices that she’s gone. In Truffaut’s film, this subtitle appears on the shot of the brief note, ‘va te faire foutre’/'go to hell'. What French audiences at the time did not know at the time was that this Japanese expression was also
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