Stolen Kisses (1968)
Directed by François Truffaut
The third in a series of films featuring François Truffaut's alter-ego, Antoine Doinel, the story resumes with Antoine being discharged from military service. His sweetheart Christine's father lands Antoine a job as a security guard, which he promptly loses. Stumbling into a position assisting a private detective, Antoine falls for his employers' seductive wife, Fabienne, and finds that he must choose between the older woman and Christine.
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What critics compared Stolen Kisses to
(Adair's novel is even worse, insofar as it ends by sentimentally commemorating Truffaut's Stolen Kisses and its dedication to Langlois.
The most obvious comparison to make, of course, is to Woody Allen’s black-and-white love-letter to New York Manhattan, but the inky, amorously lit cinematography also complements a score that heavily borrows from the films of the French New Wave–a fitting comparison since Frances Ha is more Stolen Kisses than Tiny Furniture, and one that gives the film a timeless feel that knowingly conflicts with its temporary themes.
Dany Robin, cast as Stafford's worried wife, and Claude Jade, who was so lovely in Truffaut's "Stolen Kisses," and who here plays Stafford's worried daughter, frown quite a lot.