It appears I've walked straight into the middle of a series, not knowing beforehand this was a sequel to Stolen Kisses, which I haven't yet seen. A pity, but in the spirit of Antoine Doinel, I shall accept this misfortune nonchalantly! For about two thirds its runtime Bed and Board is very enjoyable, full of charming characters saying humorous and delightful things. Little moments of relationship interplay are handled with the deftest touch by Truffaut, the acting is first class, and the small Parisian courtyard and surrounding apartments come alive. Unfortunately the film takes an all too simple turn, as Antoine cheats on his wife with an Asian woman, and much of the good grace it has earnt to that point dissipates. To close with a shot of Antoine and Christine's life mimicking the older couple they live alongside was clever storytelling, but wrapped in a very cynical moral. A masterpiece would have had something more brilliant to say.

Truffaut's Antoine Doinel avatar returns in a cute movie about a young man newly experiencing marital bliss. This means, of course, that arguments are to be had, babies to be birthed, and infidelity to be explored. Now of course I wouldn't mind a beautiful Japanese woman either, but I'm not married and this turn of events was rather predictable. Nevertheless, it's all romance and good cheer as Doinel slowly learns that he really does love his wife and no other, and grows more and more frustrated with the other woman who expects too much of him. At least it's not Fatal Attraction, but a strange Jan Svankmajer-like flower decomposing scene, followed by a campy reveal, makes the movie a little bit more interesting than your typical domestic drama.Though, to be perfectly honest, I prefer the 400 Blows. Nevertheless! Francophiles will have a lot of fun watching the small urban community that satellites the action, and Truffaut's direction and cinematography is gorgeous in its own right. Just don't expect anything profound in this comedy about a moody young Frenchman feeling a little confused (haven't seen that before, aye?).--PolarisDiB

Some time after "Baisers Volés", Antoine Doinel (Jean-Pierre Léaud) and Christine Darbon (Claude Jade) are married and Antoine works dying flowers, and Christine is pregnant and gives private classes of violin. When Christine is near to have a baby, Antoine decides to find a new job, and he succeeds due to a misunderstanding of his employer. In a business meeting, he meets the Japanese Kyoko (Mademoiselle Hiroko) and they have an affair. When Christine accidentally discovers that Antoine has a lover, they separate. But later they miss each other and realize that they do love each other."Domicile Conjugal" is a delightful and very funny "Scenes from a Marriage" by Truffault. His ambiguous alter-ego Antoine Doinel is responsible for hilarious scenes: the dialog in English with his future boss while looking for a job; charging the mother of a student of violin; the surrealistic dialogs with the guy that borrows money from him; his unusual work of maneuvering model boats. The chemistry of Jean-Pierre Léaud and Claude Jade is also amazing, with many wonderful dialogs and beautiful scenes. I particularly like their kiss in the wine cellar, which repeats "Baisers Volés", but with Christine having the attitude this time; or when he calls her "my little mother, my little sister, my little daughter" in the cab, and she replies that she would like to be his wife; or their dialog when she is wearing glasses on the bed or when he calls her in the restaurant. "Domicile Conjugal" is a simple but lovely movie. My vote is eight.Title (Brazil): "Domicílio Conjugal" ("Conjugal Domicile")Note: On 14 June 2009. I saw this movie again on DVD.

"Bed And Board" is the fourth installment in the great Antoine Doinel (played by a maturing Jean-Pierre Leaud) film series, directed by Francois Truffaut. This film is really almost as perfect as it's predecessor "Stolen Kisses", and (in ways) almost a sort of remake, using the same characters and similar situations. The story begins with a newly weded Antoine, who works as a flower dyer, while his wife teaches musical lessons. Again, Antoine goes through his life trying to find his occupational and romantic nitch. His occupational endeavors consist of becomming the guy who electronically maneuvers model boats at an American corporation. His wife soon is pregnant with his baby boy, and the idealistic domestication becomes shakey, as Antoine begins an affair with a Japanese girl named Kyoko (played by Hiroko Berghauser). What is somewhat interesting, is the French purest attitude (or small town mind set) that seems to take place in the film. The owner of the American corporation is played by American actor Billy Kearns (can be seen playing Freddie Miles in "Purple Noon") and he's the stereotypical baffoon American. Japanese girlfriend Kyoko, is the quiet reserved Asian that thinks of romantic suicidal notions for Antoine and herself. Another outsider (who everyone in the Parisian village is afraid of, until he's found out to be a comedian/ impersonator and NOT a strangler) is treated with contempt until it has been established through media/ television performance spoken in French. But it seems that Antoine and Christine's happiness is being constantly pulled at, by French outsiders. But I suppose this is what Antoine would like us to think. Still the character who (accidently) lies and cheats his way through life. This is a far more cynical version of love, compared to "Stolen Kisses", yet all the more relevent in it's depiction of growing love pains.The Antoine we see here is more emotionally lonesome than he ever was, yet he's married and has a kid. It still contains some of the greatest romantic moments in cinema history though. The scene where Antoine asks Christine to put her glasses on (one more time) is beautiful. Also the reversal situation of fetching wine from the wine celler, will put smiles on the faces of anyone who'd seen a similar scene as this in "Stolen Kisses". Though Antoine may not be as innocent as he once was in the earlier films, his Antoine is a far more realistic portrayel of men in general. This is truly another wonderful film by Truffaut, that would be as great as "Stolen Kisses" if it had retained some of the innocence. Highly recommended, one of my personal favourites!!! I give this a 13 out of 10!