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Les Mistons/Antoine & Colette: Two Short Films By Francois Truffaut [DVD] [1964] [US Import]
 
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Les Mistons/Antoine & Colette: Two Short Films By Francois Truffaut [DVD] [1964] [US Import]

DVD ~ Jean-Pierre Léaud
5.0 out of 5 stars See all reviews (1 customer review)

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Les Mistons/Antoine & Colette: Two Short Films By Francois Truffaut [DVD] [1964] [US Import]
75% buy the item featured on this page:
Les Mistons/Antoine & Colette: Two Short Films By Francois Truffaut [DVD] [1964] [US Import] 5.0 out of 5 stars (1)
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Bed and Board (Domicile conjugal) [DVD] [1970]
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Product details

  • Actors: Jean-Pierre Léaud, Marie-France Pisier, Patrick Auffay, Rosy Varte, François Darbon
  • Directors: Francois Truffaut
  • Format: Black & White, Colour, DVD-Video, Subtitled, PAL
  • Language French
  • Subtitles: English
  • Region: All Regions
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Classification: Unrated (US MPAA rating. See details.)
  • Studio: Fox Lorber
  • DVD Release Date: 24 Aug 1999
  • Run Time: 47 minutes
  • Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
  • ASIN: B00000JLTN
  • Amazon.co.uk Sales Rank: 62,526 in DVD (See Bestsellers in DVD)

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7 of 8 people found the following review helpful:
5.0 out of 5 stars Boys to men: Truffaut's vision of the agonies of love, 25 April 2004
By A Customer
There is a clear continuity in Truffaut’s early films: an exploration ofthe joys and hardships of love through characters ranging in age from theyoung, uncomprehending ‘Mistons’ to the middle-aged, besotted Lachenay of‘La Peau Douce’. For the omnibus film ‘L’amour a Vingt Ans’ Truffautpresents a heartrending portrait of the young hero of ‘Les 400 Coups’,Antoine Doinel, fumbling his way in and out of an imbalanced relationship.The sexual naivety of the young ‘Mistons’ persists in Antoine in histransition to adulthood: he fails to get to grips with the imbalance,never seeing the relationship through the girl’s eyes. The audience’ssympathies are, like those of the girl’s parents’, always with Antoine.Sympathy gives way to pathos as he seeks comfort in the love thesesurrogate parents show for him – love which was not very forthcoming fromhis real parents. Sadly for him, and us, Colette functions as his sister,not as his lover.
To my mind, Les Mistons serves as a prequel to Les 400 Coups. Children, alittle younger than Antoine perhaps, roam the village and countryside,struggling with their emerging sexual longings which are represented as acollective obsession with a local girl. Their impossible infatuation canonly be expressed through vindictiveness as they spend they’re daysstalking and tormenting her and her fiance. Unlike Les 400 Coups, therural setting makes an innocent playground: Doinel’s playground is Parisand his moments of freedom are stolen - from his parents, his school andthe correction centre.
Technically, the two short films illustrate the director’s rapid learningcurve: the editing in the early film is generally transparent until thedirector is challenged by a complicated piece of action. In Antoine etColette nothing is made ambiguous through clumsy editing and Truffautmakes use of music, moving seamlessly between diegetic and non-diegetic,as a bridge between scenes (we are inside Antoine’s room as he puts arecord on which swells in volume as he opens a window to gaze out over thestreet). The photography in Les Mistons is uneven (Coutard is thephotographer for the other short and it shows) and the looseness of thecamerawork comes across as amateurish, not stylish. However, thisroughness imbues Les Mistons with considerable charm. There are echoes ofRenoir’s Partie de Campagne in the uncomplicated storytelling anddepiction of French rural locations. This is an excellent combination ofshort films which make will greater sense when seen alongside Les 400Coups.
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