Truffaut's new film, Stolen Kisses, is charming, certainly, and likable, but it's too likable, too easily likable…. Stolen Kisses isn't rigorous, and without rigor the tenderness is a little flabby…. When I saw Antoine in The 400 Blows, I thought he was basically a healthy and resilient child who wasn't too badly off—not as badly off as the picture made him out to be. But I didn't think Truffaut saw it that way, and the frozen frame at the end, with Antoine looking at the sea, suggested that his future was hopeless. Now Truffaut has made him so healthy that I can't believe that that sensitive boy could have become so trivially healthy. The child's desperation has disappeared, and the adult world is now a collection of harmless eccentrics, some of them unfortunate but most of them—well, lovable. Truffaut has turned Antoine into the sad sack who...