The final film in the Doinel series, Love on the Run, is Truffaut’s look back at the series and his own life using the classic sitcom convention of a clip-show. The film features original material, however, it often cuts back to scenes from the previous films.
While the film doesn’t always use this method of story telling seamlessly, it is still the only way the series could have ended. As Doinel’s life spirals out of control, he begins to write about his childhood and failed love affairs as therapy. This is another way that Doinel is a direct representation of Truffaut, as the entire series was a meditative reflection of his life and personal issues.
What makes these films feel so universal, is while Doinel is Truffaut’s alter ego, he is also a representation of those who grew up on film. Those whose understanding of relationships comes from film and the flawed characters that inhabit the screen. This creates a circle in a way; if Truffaut was inspired by the films he watched growing up, then directors today are inspired by Doinel and Truffaut.
Francois Truffaut’s The 400 Blows may be the most important film and certainly the most well known film in the series, however the series as a whole provides a fascinating insight into a director whose work changed cinema and the people he inspired.