MovieChat Forums > The Soft Skin (1964) Discussion > Remind you of anything? *Spoilers*

Remind you of anything? *Spoilers*


While watching the movie, I was thinking of Woody Allen's Matchpoint.

And not just b/c of the ending with the shotgun- the whole movie had a similar feeling.

I've never thought Woody Allen to be influenced by Truffaut, but anyone know if he has ever spoken of him?

Also, I thought this is one of Truffaut's prettiest movies, in terms of its black and white cinematography. Anyone agree?

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I thought this is one of Truffaut's prettiest movies, in terms of its black and white cinematography.
I came away thinking that it was rather (intentionally) bleak/realistic and 'hard'.

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[deleted]

"But Match Point was better."

agreed, not one of Truffaut's best

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while i gave match point a deserved 9, the soft skin punched in at 8, where it well deserves to be. off-day truffaut still trumps most other's best.



"Rampart: Squad 51."

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by derekrulz66 (Wed Apr 9 2008 01:40:59) Ignore this User | Report Abuse

I saw Match Point first, and thought it was fantastic. I thought of Match Point while watching Soft Skin when she pops out the shotgun.

Interesting. But Match Point was better.
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Oh, sure. But nothing compares with "Batman".

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Yes, Woody Allen was heavily influenced by the Nouvelle Vague, especially Truffaut. In one movie, his character actually steals a typewriter, much like Antoine Doinel.

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I was actually reminded more of Antonioni; at least in terms of the look and feel of the thing. The black and white photography, the disjointed framing of people and objects, the vaguely repellent characters all seemed to point towards a film like La notte or L'eclisse.

It also reminded me of Godard's Une femme mariée, which also shows some of Antonioni's influence (though more thematic than simply visual), and was apparently made in response to the Truffaut film.

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I don't know about the Antonioni likeness... I definitely didn't see it. The whole thing just clinged too much to its narrative which somewhat neatly resolved itself by the end. There was none of the soul-searching or visual lyricism that pervades through the works (of Antonioni) that you've mentioned. And I definitely didn't catch any influence in the cinematography either... none of those painterly-like frames that are a rather dominant feature of Antonioni's cinema... but I suppose this is rather subjective territory here.

Clear eyes, full hearts, can't lose.

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yeah, it's probably there.

And isn't his 'Vicky, Christina, Barcelona' trying to ape 'Jules et Jim'?

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