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Directed by François Truffaut
In the fourth installment of François Truffaut's Antoine Doniel series, this romantic comedy shows how Antoine (Jean-Pierre Léaud) went from being a mischievous boy to an adorably charming young man of 26. Domicile Conjugal begins with Antoine settling down with Christine (Claude Jade), his girlfriend from the previous film, Baisers volés. He finds himself accepted and loved by his wife and her family, so the young couple move in to an apartment building together. They live in a lively neighborhood of interesting characters, such as the old man who never leaves and the opera singer who fights with his wife. Antoine finds work as a florist painting roses, while Christine makes a living by teaching violin lessons. After he gets involved in an accidental fire at the florist's, he gets a new job with an American corporation where he steers radio-controlled boats around a pond all day. A big change occurs when Christine becomes pregnant and gives birth to a baby boy, while Antoine grows increasingly distant. Eventually, he becomes infatuated with a Japanese girl, Kyoko (Hiroko Berghauer), resulting in some shifts in lifestyle. The fifth and final Antoine Doniel film L'Amour en fuite was released in 1979, picking up the story with Antoine after he reaches his thirties. ~ Andrea LeVasseur, All Movie Guide
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chesterfilmschesterfilms Antoine Doinel
by chesterfilms in chesterfilms Blog
loved it.
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"The Antoine Doinel films follow the Doinel character from boyhood to manhood with 400 Blows, Antoine and Colette, Stolen Kisses, Bed and Board, & Love on the Run. Even though this is not a documentary like the Seven Up films, I got a similar feeling watching the same actor portray the same character within a 20+ year period. It is very interesting to watch a real actor grow up on film. " [More]
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Review by All Movie Guide
All Movie Guide
lost interest.
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, All Movie Guide
 

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