Ivan's Childhood/Ива́ново де́тство (Ivanovo detstvo)/My Name Is Ivan (1962) - Childhood shattered by war in Tarkovsky's impactful drama

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A nasty thorny plant makes up an overwhelming, ominous dark background to an image of two children on this poster for Andrei Tarkovsky's Ivan's Childhood

Ivan is a boy in the Soviet Union during World War II. His mother and sister are murdered, and his father is gone. Ivan wants to serve as a soldier, but he is not permitted. He survives in a ruthless world of mud, cold and darkness.

 

Ivan's Childhood is written by Vladimir Bogomolov (Zosya (1967)), Mikhail Papava (Ivan Pavlov (1949)), Andrey Konchalovskiy (House of Fools/Dom durakov (2002)) and Russian master filmmaker, co-writer/director Andrei Tarkovsky (The Steamroller and the Violin/Katok i skripka (1961)), whose 2nd feature it is. It is based on Bogomolov's short story Ivan (1957). The title is a literal translation of the original Russian one.

Ivan has terrible nightmares, when he sleeps. The film is unique and highly worth searching out, especially for its ethereal images (cinematography by Vadim Yusov (Solaris (1972))) and Nikolay Burlyaev's (Russkaya ruletka (1990)) gripping performance as Ivan, a strikingly mature child performance for the ages.

 

Related posts:

Andrei Tarkovsky: Top 10: Best epic movies reviewed by Film Excess to date 

Top 10: The best biopic movies reviewed by Film Excess to date  

Andrei Rublev/Andrey Rublev/Андрей Рублёв (1966) - Tarkovsky's undying epic of faith in Russia 

 

Watch a fan-made trailer for the film here

 

Cost: Unknown but projected 200k $

Box office: Unknown but at lest 4.64 mil. $ and projected at 6 mil. $

= Uncertain but likely a mega-hit (projected return of 30 times its cost)

[Ivan's Childhood premiered 6 April (Moscow) and runs 94 minutes. Tarkovsky took over the project, which had been shooting under director Eduard Abalov, whose material was then discarded. Tarkovsky was reportedly put in charge and finished the film in 8 months, 24k rubles under budget. Shooting took place from June 1961 - January 1962 in what was then the Soviet Union and is today Ukraine. The film was among Tarkovsky's most successful in terms of box office, selling a reported 16.7 mil. tickets in the USSR, coming to approximately 4.17 mil. rubles, approximately 4.64 mil. $. The film was released widely internationally, although gross details are regrettably not available online; a 6 mil. $ final gross is projected. It won the Golden Lion at the Venice Film Festival and was the Soviet nomination for the Best Foreign Language Film Oscar of the year, however it did not ultimately receive a nomination. Tarkovsky returned with Andrei Rublev/Andrey Rublyov (1966). Burlaev returned in Sud sumasshedshikh (1962). Ivan's Childhood is fresh at 100 % with an 8.90/10 critical average at Rotten Tomatoes.]

What do you think of Ivan's Childhood?

The Intruder/Shame/I Hate Your Guts/The Stranger (1962) - Corman's impassioned political drama

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A fiery cross is outlined against the serious visage of star William Shatner on this stark poster for Roger Corman's The Intruder

A mysterious stranger arrives in the racially segregated Southern town of Caxton; he is a good-mannered rhetorical figure, promoting 'social reform' while actually spelling trouble, - by inciting a race riot.

The Intruder is written by Charles Beaumont (Night of the Eagle (1962)), adapting his own same-titled 1959 novel, and directed by great Michigander filmmaker Roger Corman (Highway Dragnet (1954)).

William Shatner (The Big Bang Theory (2019, TV-series)) shines in the central part of Adam Crane, and this rare, idealistic, topical issue-driven film impresses as an accomplishment in itself as well as in terms of what it succeeds with: The casting of the town's locals is strong, and central scenes will etch themselves into the audience's memory banks. The Intruder is among the best race-themed American films of all time.

 

Related posts:

Roger Corman: Corman's World: Exploits of a Hollywood Rebel (2011) - Stapleton's Corman doc. is among the year's best films (documentary subject)

Philadelphia (1993) - AIDS and homosexuality acknowledged in great drama (actor) 

Galaxy of Terror (1981) - Clark and Corman's delightful space-set gore-fest (producer)

Death Race 2000 (1975) - AIP's dystopic car smash (producer)
The Wild Angels (1966) - Young biker rebels deliver a counter-culture punch in Corman's hands

Dementia 13/The Haunted and the Hunted (1963) - Coppola's Gothic AIP castle horror (producer) 

Creature From the Haunted Sea (1961) - Cheap, fast, amusing spoof/spy thriller/creature feature (producer/director)
Top 10: The best adaptations reviewed by Film Excess to date

House of Usher/The Fall of the House of Usher/The Mysterious House of Usher (1960) - Corman's exuberant first house of Poeish horror

 

Watch a trailer for the film here

 

Cost: 90-100k $

Box office: Unknown

= Unknown but reportedly a flop

[The Intruder premiered 14 May (New York) and runs 84 minutes. Major studios had passed on the adaptation, which Corman and his brother Gene Corman then did on a much smaller budget, partially with their own money. Shooting took place in 3½ weeks in Missouri. The production was careful not to share the script with the locals, fearing getting forced to leave. Still they reportedly encountered threats, sabotage and revoked permissions for shooting due to the film's anti-racism message. Corman later shared that the film, distributed by his own company domestically, was his only film at the time that lost money, which he attributed to its raw 'lesson'. He learned from it to focus instead on entertainment value and relegate themes and messages to subtext. The film was nevertheless also released in at least 14 international markets. Corman returned with Tales of Terror (1962). Shatner returned in 13 short, TV and narration credits prior to his theatrical return in The Outrage (1964). 4.1k+ IMDb users have given The Intruder a 7.6/10 average rating.]

What do you think of The Intruder?

Hatari! (1962) - Hawks, Wayne and Co. chase natural sensations in Africa

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The unfamiliar word that constitutes the title is (curiously) explained to mean three very different words on this colorful poster for Howard Hawks' Hatari!, which highlights several sensational situations from the picture

 

In Africa a small group of Westerners work together to catch wild life for the world's zoological gardens.

Hatari! is written by Leigh Brackett (The Long Goodbye (1973)), with Harry Kurnitz (Surprise Package (1960)) contributing story elements, and directed by Indianan master filmmaker Howard Hawks (The Road to Glory (1926)), whose 37th feature it was. The title is a Swahili (a central-African language) word that translates to 'danger'.

High-speed jeep animal chases with rhinos, zebras and other animals are the sensation (and core element) of this film, and these are quite rare to behold, perhaps reminding today's audiences of similar (but 'fake') scenes in Jurassic Park (1993), three decades later. Regrettably there's not much of a story around these chases, and the attraction of the 'social' scenes that makes up the filler is negligible. 

Strange, surely, is the sight of John Wayne (Big Jake (1971)) in the African savanna, but his satisfaction at being there illuminates him and works some by sheer infectiousness. Wild animals are chased, caught, - a leopard (presumably under sedation) acts in several scenes, and baby elephants are let loose in one town, and driven around on a flatbed truck. Even still the whole affair seems pretty innocent in a film that, - despite its natural sensations, - is honestly an over-long and deadly bore. It does, however, also to its credit, have Henry Mancini's (Ain't Misbehavin' (1955)) classic tune Baby Elephant Walk, which he wrote for Hatari!.

Related posts:

Howard Hawks: El Dorado (1966) - Hawks, Duke and Mitchum's great western

Gentlemen Prefer Blondes (1953) - Great musical numbers define cultural cornerstone 

The Big Sleep (1946) - The sexiest noir carousel you will ever ride
Top 10: The best adaptations reviewed by Film Excess to date
Top 10: The best B/W movies reviewed by Film Excess to date
Bringing Up Baby (1938) - A screwy gathering

 

Watch a trailer for the film here

 

Cost: 5-6 mil. $ (different reports)

Box office: 12.9 mil. $

= Minor flop (returned 2.34 times its cost)

[Hatari! was released 19 June (USA) and runs 157 minutes. Hawks began shooting the film without a finished script. Shooting took place from November 1960 - May 1961 in Tanzania and in Los Angeles, California. When the African shoot was finished, cast, crew and a planeload of wild animals were flown back to Los Angeles. Some were later also utilized for the film's elaborate PR tour before reportedly getting donated to zoos. The promotional campaign was reportedly the largest in Paramount's history. The film made 7 mil. $ in North-American rentals and reportedly 12.9 mil. $ total, becoming the year's 7th highest-grossing film. It was nominated for the Best Cinematography - Color Oscar (Russell Harlan), lost to Freddie Young for Lawrence of Arabia. Royalty checks for Mancini's Baby Elephant Walk would reportedly earn Hawks 125k $ over the following years. Hawks returned with Man's Favorite Sport? (1964). Wayne returned in The Longest Day (1962). Hatari! is fresh at 64 % with a 6.80/10 critical average at Rotten Tomatoes.]

What do you think of Hatari!?

How the West Was Won (1962) - Western star cascade is a visual feast

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An overwhelming number of stars and an incredible amount of epic sequences are teased on this yellow-toned poster for Henry Hathaway, John Ford, Richard Thorpe and George Marshall's How the West Was Won

From the frontier men and women on rafts down the river, in the American Civil War, through the Indian Wars, the revolution of the railway system and the arrival of law and order: - This is how the west was won!

 

How the West Was Won is written by James R. Webb (Kings of the Sun (1963)) and John Gay (Final Notice (1989, TV movie)) and directed by great Californian filmmaker Henry Hathaway (Heritage of the Desert (1932)), Mainer master filmmaker John Ford (Straight Shooting (1917)), George Marshall (Love's Lariat (1916)) and Richard Thorpe (Rough Ridin' (1924)).

Variegated and (putting it squarely) shapeless anthology type largesse western epic: Starts by treating the West more or less as an enjoyable amusement park; later becomes more thrilling, - especially in the railroad section and towards the end, featuring outlaws. Stars replace stars as if delivered to us on a conveyor belt, where none of them have time to form whole characters that develop, and some of them simply chew up the scenery.

But How the West Was Won is worth watching as a photographic spectacle due to its laborious Cinerama three-strip film process, originally theatrically projected onto a curved screen. (The only other film made this way is The Wonderful World of the Brothers Grimm (1962).) Enjoy it for its enormously wide, crystal clear, beautiful images, which are incredible to look at, when for instance grand vistas, buffaloes and dramas on the river come to life in extraordinary detail, so that you nearly feel that you're there. (Cinematography by William H. Daniels (The Prize (1963)), Milton R. Krasner (The Singing Nun (1966)), Charles Lang (Hotel (1967)) and Joseph LaShelle (The Outsider (1961)).)

Outstanding stunts and production design and popping colors also work magic. The West is almost entirely kept in positive turns in this nationalistic, fly-over work, which captivates visually.

 

Related posts:

John Ford: Fort Apache (1948) - Wayne and Fonda clash in Ford's solid western of a massacre of Indians 

Top 10: Best Twentieth Century Fox titles 

The Grapes of Wrath (1940) - Ford's Steinbeck adaptation is a cinematic crown jewel 
Henry Hathaway: Airport (1970) or, A Genre Is Born (uncredited director of winter outdoor scenes)  
Circus World/The Magnificent Showman (1964) - Hathaway and Bronston's grand, ill-fated curio 

The Dark Corner (1946) - Hathaway's great film noir

 

Watch a trailer for the film here

 

Cost: 14.483 mil. $

Box office: 50 mil. $

= Box office success (returned 3.45 times its cost)

[How the West Was Won premiered 1 November (London) and runs 164 minutes. The film was originally intended to be charitable for St. Johns Hospital, but the hospital later sued to get its profits. Shooting took place from May 1961 - January 1962 in Kentucky, Arizona, Illinois and Colorado. During production the budget ballooned from 8 mil. $. Hathaway later said about the making of the film: (it was) "goddam trouble. They had an idiot for a producer and Sol Siegel was drunk most of the time. We spent so much money on the picture they almost decided not to do the last part. We had a meeting, and I said, 'You can't quit. You've got to show how the West was won. The West was won when the law took over'." At the London Casino Cinerama where the film premiered, it went on to play for 123 weeks, ending its impressive reign in April 1965. The film made 20.9 mil. $ in North-American rentals, becoming the year's 2nd highest-grossing in rentals. Elsewhere it is put down for a 46.5 mil. $ North-American gross. With considerable foreign numbers, there is a discrepancy concerning the alleged 50 mil. $ world gross. In any case it was a success. It was also nominated for 8 Oscars, winning 3, for Best Screenplay, Sound and Editing. It lost Best Art Direction-Set Decoration, Color to Cleopatra, Cinematography, Color to Leon Shamroy for Cleopatra, Costume Design, Color to Cleopatra, Score (Alfred Newman (The Counterfeit Traitor (1962)), Ken Darby (Meet Me After the Show (1951))) to John Addison for Tom Jones and Picture also to Tom Jones. It also won a National Board of Review award, among other honors. Through restorative efforts, the very visible three image lines have been mostly disguised on newer home video releases of the film. Hathaway returned with Circus World (1964); Ford with Donovan's Reef (1963); Marshall with Papa's Delicate Condition (1963); and Thorpe with Follow the Boys (1963). James Stewart (Rope (1948)) returned in My Three Sons (1963, TV-series) and theatrically in Take Her, She's Mine (1963); John Wayne (The War Wagon (1967)) in Donovan's Reef (1963). How the West Was Won is fresh at 87 % with a 7.10/10 critical average at Rotten Tomatoes.]

What do you think of How the West Was Won?

Eegah/Eegah! The Name Written in Blood (1962) - Wehling, Hall, Sr. and son's landmark turkey

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This lurid, sensationalistic poster for Arch Hall, Sr.'s Eegah promises much much more than the film delivers

A girl in a car in the desert lives through a giant caveman jumping out of the darkness. She and her father are later kidnapped by the very same mysterious stranger, known as Eegah.

Already from the incredibly ugly, often unreadable title credits it is clear that Eegah is an unusual mess. The film has flaws aplenty (the sound, angles, editing, music and acting are continually botched), - in fact the mistakes are so astoundingly numerous that the film hardly has a single shot that is acceptably well done.
To this must be added the comical ineptness of the script (by Bob Wehling (Wild Guitar (1962)), based on director-producer-co-star Arch Hall, Sr.'s (The Corpse Grinders (1971)) original story), which is ridiculous to its core: SPOILER The girl and her father in it are not worried about being trapped in a cave and having to drink sulfurous water (!) there, but actually have a jolly good time shaving the old man and then the caveman, whom the girl also continually worries about at great lengths, despite his obvious intent to rape her. - Yes, these are just some of the weird developments in Eegah.
Hall, Sr. directed his son Arch Hall, Jr. (The Sadist (1963)) here as the dimwitted doo-woop rock'n'roll singer, and Hall, Jr. not only looks a bit bizarre, (take a look below in the nifty B/W promotional material), he also lip-syncs really bad.
Eegah is one of those legendary movie turkeys that any true bad movie buff just has to see.

Watch a telling 2-minute scene from the film here

Cost: Reportedly 15k $
Box office: Unknown
= Uncertain
[Eegah premiered 17 April (in Biloxi, Mississippi!) and runs 90 minutes. It was shot in California. Its gross is unknown, and the only other country than USA that it was released in seems to have been Mexico. - But Hall, Sr. and Hall, Jr. continued to make movies, indicating that the modest budget was returned, maybe with a profit. The film since grew in notoriety and fame with screenings on the TV-shows Mystery Science Theater 3000, Movie Macabre and Exploitica and many different video releases. It has fallen into public domain and is available for download and streaming free and legally right here. The film now rests at #47 on IMDb's user-generated Bottom 100, between Final Justice (1985) and Die Hard Dracula (1998). 4,763 IMDb users have given Eegah a 2.2/10 average rating.]

What do you think of Eegah?

Dr. No (1962) - Bond # 1 is one attractive package

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Sean Connery strikes an unusual pose on this poster for Terence Young's Dr. No

QUICK REVIEW:

Dr. No is the first James Bond movie ever, based on Ian Fleming's 7th Bond novel of the same name.

Agent 007 is sent to Jamaica, because one of his colleagues in the British intelligence service is reported missing there. The clues lead him to the island Crab Keyes, where the evil genius Dr. No has a lab that makes something unspecified which produces nuclear radiation. SPOILER - Bond blows that up!

The concept for the following 22 Bond movies to date, (movie # 24, Spectre (2015), will be released later this year) is impressively determined already here from the solid get-go, and Dr. No is an instant pleasure as the slightly chauvinistic male agent fantasy that the Bond character and universe is.
Sean Connery (Time Bandits (1981)) is perfect and very dashing as the suave gentleman hero without any ties, except for his employer, and Ursula Andress (Clash of the Titans (1981)) is beautiful and perfectly lovely as Honey Ryder, one of the series' most memorable Bond babes. Canadian New York-actor Joseph Wiseman (The Valachi Papers (1972)) is the titular, ice-cold villain, whose gimmick, - often a physical defect, which most of the Bond villains have, - is his crab-like steel hands. He isn't among the series' most exciting, and there are parts of Dr. No that draw out a bit.
Ken Adam's (Barry Lyndon (1975)) spectacular sets are a main attraction already from the first film here, and John Barry's (Howard the Duck (1986)) legendary theme also gets imprinted forever in our audial memory in Dr. No.
Much has happened for James Bond since the film: In Dr. No, 007's mission really gets hairy as he arrives to the island of Dr. No in the dead of night. - And lies down to sleep!
The film is written by Richard Maibaum (Thunderball (1965)), Johanna Harwood (Call Me Bwana (1963)) and Berkely Mather (The Long Ships (1964)) and directed by British, Shanghai-born master filmmaker Terence Young (The Valachi Papers), who would later direct two more of the franchise's best films, From Russia with Love (1963, # 2) and Thunderball (1965, # 4).

Watch the original, corny-fun trailer for the glitzy Technicolor movie here

Cost: 1.1 mil. $
Box office: 59.5 mil. $
= Mega-hit
[Dr. No was given its relatively low budget by United Artists, who were not certain what kind of an animal they would have on their hands and therefore rolled the film out without great confidence in North America, at first on double-bills and on a limited number of screens. The film would go on to gross 16 mil. $ (27 % of the total gross) in North America, from a reported 19 mil. admissions. The film was pushed by an elaborate PR campaign that included tie-ins to various products. Dr. No is also infamous for booming the sales of bikinis, through its scenes of exotic Swiss beauty Andress in the two-piece.]

What do you think of Dr. No?

Cape Fear (1962) - Great suspense in effective home invasion thriller

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The lines are etched up on the exciting poster for J. Lee Thompson's Cape Fear

QUICK REVIEW:

Cape Fear presents any stone-cut patriarch's worst nightmare: An outer threat that he can't protect his family against.
Gregory Peck (Roman Holiday (1953)) is the ultimate law-abiding gentleman family father, and Robert Mitchum (Out of the Past (1947)) is simply unpleasant as the man he has once put in jail. - Very unpleasant in fact.
Something about the family roles bothers me slightly, but Cape Fear is an otherwise great suspense movie; with inventive B/W photography by Sam Leavitt (Anatomy of a Murder (1959)), perfect use of shadows and yet another classic Bernard Herrman (Psycho (1960)) score. A menacing and very good thriller.
SPOILER In Mitchum's attack on Polly Bergen, who plays Peck's wife in the film, the eggs were not scripted, and Bergen's reaction to them is real. Mitchum also really slashed his hand open, and Bergen's back was also cut, and she had back injuries for days after the intense scene was shot.
Cape Fear is directed by J. Lee Thompson, one of Hollywood's hottest directors at the time, who had made the great The Guns of Navarone (1961) the year before.

Related review:

J. Lee Thompson: Battle for the Planet of the Apes (1973) or, The Final Ape!
Conquest of the Planet of the Apes (1972) or, The Ape Uprising

Watch the original trailer here

Cost: Unknown
Box office: Unknown
= Unknown

What do you think of J. Lee Thompson's Cape Fear?

Carnival of Souls (1962) - Herk Harvey's one movie is an inspired, nightmarish classic

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Drawn, eerie and not even lying (!) poster for Herk Harvey's Carnival of Souls

QUICK REVIEW:

After a car accident, Mary, our organ player heroine, moves to small time America, where she soon finds herself in a frightening alone-in-the-world soul limbo!
Despite miserable sound quality, an at times inordinately scratching, - but atmospheric, - organ music score and a weirdly abrupt beginning, Carnival of Souls has an intensely discomforting air to it. It presents a creeping, Twilight Zone-reminiscent situation that will crawl under your skin!

Beautiful, despairing Candace Hilligoss in Herk Harvey's Carnival of Souls

Candace Hilligoss (The Curse of the Living Corpse (1964)) plays well and is very beautiful in this weird, nightmarish film by Herk Harvey, an infomercial director behind short documentaries like What About Prejudice? (1959). He also stars in the film as the main male ghoul:

Herk Harvey in his own film, Carnival of Souls

Harvey never made another feature, but boy, the one he made is inspired! 
It was made on a mere 33,000 $ budget with a crew of just 5 people besides Harvey himself. It wasn't highly regarded at its release, but has since been remembered by many and grown through TV airings and video and DVD releases, and is now something of a psychological horror cult movie. It is in public domain and can be seen free and legally here.

Related post:

Top 10: The best B/W movies reviewed by Film Excess to date 

Watch the great, original trailer here 

Carnival of Souls has even made itself into this unofficial, alternate music video for Lana Del Rey's Video Games

Budget: 33,000 $
Box office: Unknown
= Unknown

What do you think of Carnival of Souls?
Any stories regarding the movie?

The Brain That Wouldn't Die/The Head That Wouldn't Die (1962) or, The Mad Brain Doctor!

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Plenty of horrific and sensational elements converge on this well-made poster for Joseph Green's The Brain That Wouldn't Die

A mad experimental scientist manages to keep his girlfriend's head alive, after she is left decapitated by a car accident.

The Brain That Wouldn't Die is written and directed by Joseph Green (The Brazen Women of Balzac (1969, producer)), with co-writer/co-producer Rex Carlton (Nightmare in Wax (1969)).
Despite its catchy, colorful title, the very low-budget film is pretty disappointing, and the title is mildly manipulative: The brain in question in the movie is really an entire woman's head, who almost only talks about dying! 'The Brain That Was Obsessed With Dying' might have been a more accurate title. The filmmakers were seemingly also confused about their own title: In some prints, the end shot reads The Head That Wouldn't Die.
The Brain That Wouldn't Die was shot in only 13 days in 1959; then kept from release until '62 because of legal and censorship issues, - and one of the leads, Virginia Leith (Moment of Fear (1960, TV-series)) is said to have hated the shoot so much that she refused to come in to dub her lines in post-production. These lines were then dubbed by Doris Brent (8MM (1999)), who plays a nurse in the film.
The script, story and acting in The Brain That Wouldn't Die are awful.
But the film at least has a jazz score with a dirty feel (by Abe Baker and Tony Restaino), which goes well with the flick's semi-exploitation images, (the lead visits strip clubs, among other places, in his hunt for a suitable woman body.) The slightly risqué effects also work in the sleazy film's favor.

 

Watch a short teaser for the film here

Cost: 62,000 $
Box office: Unknown
= Uncertain

[The Brain That Wouldn't Die premiered 22 February (West Germany) and runs 82 minutes. Shooting took place in 1959 in New York and New Jersey. AIP released the film in North America in 1962 in a cut version on a double bill with Invasion of the Star Creatures. Due to a flawed copyright notice the film fell into public domain from the day it was released, and it can therefore be seen and downloaded free and legally right here. Green returned with The Perils of P.K. (1982). Leith returned in 3 TV-series prior to his theatrical return in First Love (1977); Jason Evers (Glitter (1984, TV-series)), who plays the mad doctor, returned in Laramie (1962, TV-series) and theatrically in House of Women (1962). The Brain That Wouldn't Die is rotten at 33 % with a 4.90/10 critical average at Rotten Tomatoes.]

 

What do you think of The Brain That Wouldn't Die?

Antoine and Colette/Antoine et Colette (1962, short) - Unrequited love in Truffaut's Paris

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The 1960s-chic stars of François Truffaut's Antoine and Colette look young and intriguing on this poster for the short

Antoine et Colette is a 32 minute short, which was great French writer/director François Truffaut's installment in the anthology Love at Twenty/L'amour à Vingt Ans, which also features shorts from directors Shintarô Ishihara, Marcel Ophüls, Renzo Rossellini and Andrzej Wajda.
The film reconnects us with Antoine and his friend Rene from Truffaut's tender hit debut The 400 Blows/Les Quatre Cents Coups (1959) for the second in what came to be five films about Antoine, following him go from boy to grownup, every time in the shape of Jean-Pierre Léaud (A Matter of Taste/Une Affaire de Goût (2000))
It is wonderful to see that the famously open, beach-set ending of Les Quatre Cents Coups was not a tragic farewell to a lost youngster: 

Antoine has matured three years and is now 17 and lives alone in Paris, where he works for Philips, manufacturing LPs. He falls in love with another music-lover, Colette, who regrettably does not repay his sentiments and actually acts very shabbily towards her young suitor.

With charming music and editing ploys and the story, which in all its delicate simplicity is one of unrequited love, this short plays like a delicious, bittersweet trifle.

Related posts:

François Truffaut: The Bride Wore Black (1968) - Truffaut lets Moreau serve ice-cold revenge
Stolen Kisses/Baisers Volés (1968) - Minor nouvelle vague Antoine Doinel-romcom 

The melancholic song Love at Twenty plays over a poignant still photo montage during the short's ending in this clip

Cost: Unknown
Box office: Unknown
= Uncertain
[Antoine and Colette premiered 22 June (France and Germany's Berlin International Film Festival) and runs 32 minutes. Producer Pierre Roustang contacted Truffaut about the anthology or omnibus movie idea, and Truffaut helped pick the other 4 filmmakers for it. The project allowed him to go back to his alter ego Antoine character, whom he would revisit and keep alive in another 3 films. The story here reflects Truffaut's own quitting a welder job to move after a girl he fancied to Paris as a 17 year-old, who would eventually turn him down. Shooting took place in Paris, France. The film was released in 7 more European markets up to 1965, as well as in the US and Japan, but gross information is regrettably lacking. The Antoine Doinel saga continued with Stolen Kisses (1968), Bed and Board (1970) and Love on the Run (1979). Truffaut returned first with Los 4 Golpes (1962, short) and theatrically with The Soft Skin/La Peau Douce (1964). Léaud returned first in Mata Hari - Agent H.21 (1964); Marie-France Pisier (Parking (1985)) in The Devil and the Ten Commandments/Le Diable et les Dix Commandements (1962). 3,591 IMDb users have given Antoine and Colette a 7.6/10 average rating.]
 

What do you think of Antoine and Colette?