The Soft Skin (1964)

For starters, this movie wasn't really all that successful when it first came out. Things have changed since but I think that much of the people who see it today probably wouldn't if it wasn't for the prestige the director's name enjoys today. If you wanna know what I think, it's superior to the okay but mildly disappointing 'Jules et Jim'.

This is a movie that I'd recommend to all men who can't be loyal to their girlfriends/wives. I can recommend it for two reasons, depending on each case: to men who are aware of their lack of loyalty but can't stop and yet want to learn something from that ; or to men who simply don't want to get married and have kids or don't care about taking affairs with women seriously.

This movie is well directed, fun, romantic and at the same a harsh and almost sick movie about love. The ending is so harsh and shocking, proving how love can turn to hate and just how sick love can get.

Jean Desailly and Françoise Dorléac are superb in their respective roles and despite their age difference of 20+ years they have a perfect chemistry.

This should definitely be on Top 250.

Fmovies: Very poetic, early Truffaut, but already at his best. This story of a middle-aged intellectual man who certainly should not have too much to complain about in his life, but wants to give it a try for whatever reasons (mid-life crisis? vanity? play instinct? the beginnings of some sort of amour fou on his part?), thus bringing about a catastrophe, is brought to the screen in a powerful and masterly way.

It's all been described in large part by other users so far: Raoul Coutard's impressive black-and-white cinematography, the acting by Dorléac, Desailly and Benedetti, it all fitted very well.

What's more to mention, however, is a beautiful soundtrack by Georges Delerue, in my opinion a true masterpiece of film scoring, with a haunting main theme.

This is really a film I shall keep in my heart for a long time. I certainly prefer it to "Jules et Jim".

This Truffaut is more old cinema than new wave:Jean Desailly is unusual in ""Jules et Jim" director's universe.He's certainly one of the greatest French actors I know but he's better with Jean Delannoy or Edouard Molinaro.Truffaut's touch is here anyway:you can feel it thru the father/daughter relationship,during the scene when Desailly brings a classical music record to his little girl .The breakfast trail which the cat finds on this way will be here again in "la nuit américaine " (day for night).A lot of details show the cine buff Truffaut was,notably the restaurant called "la Colinière" the name of the mansion in Jean Renoir's "la règle du jeu";the room 813 is probably a nod to Maurice Leblanc and Arsène Lupin.

The love triangle would have been be trite,had not Truffaut focused on the cheated wife (Nelly Benedetti) ,an offbeat move.The end of the movie is hers ,at the expense of the late Françoise Dorleac's pretty girl character.And the scene in the street with the man who treats her like a whore is woman's lib before its time:"who do you think you are?take a good look at yourself! " this desperate woman screams.And the harsh conclusion heralds that of "la mariée était en noir" (the bride wore black).�

The Soft Skin fmovies. Pierre Lachenay (Jean Desailly) is a successful writer. He is leaving Paris for Lisbon to give a conference on "Balzac et l'argent". On the flight to Lisbon he feels instant attraction for a beautiful flight stewardess. In Lisbon he'll discover that he's staying at the same hotel as her. Pierre wastes no time and gets to know her. Her name is Nicole (Françoise Dorléac). She is spontaneous and easy-going, but it's easy to detect the romantic streak in her. They start an affair right there in Lisbon. She gives him her Paris telephone number. He calls her. They meet. In Paris their relationship grows in intensity.

Pierre is a married man. His wife is also a good-looking woman and he has a 10-year-old daughter that loves him (as does his wife). Pierre is an intellectual with an organized life, maybe having had some flings here and there, but nothing that really threatened the comfortable foundations of his life. But now he has met Nicole. And Nicole represents everything that Pierre had never really experienced before: she has a real "joie de vivre" but underneath it, there is pain, and above all, strength - the strength to overcome sadness and start all over again, that is, to live right here and now.

Pierre, on the other hand, as an intellectual, lives a life of compromises. His wife, Franca (Nelly Benedetti), loves him and has a strong personality. She knows exactly what she wants and is determined to fight for it. Pierre is between two strong women. He loves Nicole - she has opened a new life, a new world for him. Will he follow his heart? And where will his heart lead him? I think that "La Peau Douce" is one of the more personal films made by Truffaut. It has a psychological subtlety not displayed in his later works (be it his later Antoine Doinel films, his literary adaptations, or his homages - to Hitchcock, Jean Renoir etc..). Never again would Truffaut reach the depth of "La Peau Douce".

"La Peau Douce" reveals understanding (and tenderness) for all the characters, but alongside these traits there's also a bitter irony and even some touches of dark comedy. The characters are shown in all their weaknesses and beauty. In later Truffaut films the tenderness would be the prevailing feature - the irony would come along in a watered-down form.

François Truffaut's fourth feature and his first true masterpiece is essentially a classic love triangle, filmed like a quiet juggernaut that eventually overwhelms all those involved. On a quick trip to Lisbon for a lecture, literary essayist Jean Desailly's eye catches the lovely Françoise Dorléac, the air hostess on his flight. Soon he's asking her out for a drink and a love affair develops in between her flights, as his married life with seductive but demanding wife Nelly Benedetti slowly unravels. Much to Truffaut's credit, there is no judgment passed on any of the characters: whether Desailly is undergoing a dreaded mid-life crisis and wishes to be young again or is merely indulging an intellectual whim, whether he really wants to prove himself he is still a man capable of passion or just looking for a way out of his stifling marriage, is entirely up to the viewer to decide. But the director doesn't avert his eye from the seedy unpleasantness of the central situation, as the masterfully extended Reims interlude and the shock ending prove. Basically, it's a film about the mess people make when they think they're in love, all the more disturbing because Truffaut bases it all on chance meetings and missed opportunities - had Desailly not arrived late for his plane to Lisbon, had Dorléac not called him back at the hotel, maybe none of this would have happened. Marvelously shot in black and white by Nouvelle Vague lenser Raoul Coutard, this was the very first film where Truffaut showed the world all he was capable of; it's a stunningly modern film on the most classic of all melodramatic stories.

Truffaut's study of a middle-aged man losing his way in life in the age-old fashion is caught in a mesmerizing series of quick-succession shots and sympathetically-captured quotidian details. An unthinking, self-assured man; his wounded, passionate wife; his sweet, vulnerable lover; an inevitable tragedy. This underrated film has no real surprises, but its sure-footedness is impressive and the simple story ultimately very moving.