2018/11/13 § Leave a comment
Stolen Kisses is Francois Truffaut’s third installment in the Antoine Doinel series.
Once again we meet up Antoine. This time he is sitting in a jail cell fitted in the uniform of the French army. Once again, we see him reading Balzac. The film is sweet and develops on the themes Truffaut built up in both The 400 Blows as well as Antoine and Colette. As a character, Antoine is dependable to always circle back to things once visited — whether this be literature, the pursuit of women, the pursuit of replacing his relationship with his mother, or simply making the same mistakes over and over again. In fact, this seems to me the key to understanding Antoine Doinel. Though his life is riddled with missteps — something every person can relate with and has experienced — Truffaut somehow makes each one seem fresh and human, without (or at least mostly without) judgement.
2018/11/12 § Leave a comment
The “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal—the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
2018/11/11 § 1 Comment
2018/11/10 § 1 Comment
The 400 Blows (which happens to be one of the most misleading film titles ever translated into English)1 is François Truffaut’s debut film and one of the leading exemplars of the French New Wave. Its engaging storyline coupled with its portrayal of adolescence as painful, rather than sentimental and nostalgic, is its crowning achievement. As mentioned previously, the exploration of identity is central to the work of the French New Wavers, and The 400 Blows is no exception. [spoilers herein]
2018/11/10 § Leave a comment
Thinking about Seattle and my years spent in Portland this morning, I am struck by the urban ethos embodied in HKE’s album HK. Its aim is clearly China but its themes can be immediately felt by city dwellers of all shapes and sizes.
‘Ghost’ is a personal favorite of mine.