The 400 Blows

1959

Crime / Drama

12
IMDb Rating 8.1 10 91454

Synopsis


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Cast

François Truffaut as Man in Funfair
Jeanne Moreau as Woman with Dog
Jean-Pierre Léaud as Antoine Doinel
720p.BLU 1080p.BLU
832.11 MB
1280*544
French
NR
23.976 fps
1hr 39 min
P/S 14 / 59
1.58 GB
1920*816
French
NR
23.976 fps
1hr 39 min
P/S 18 / 92

Movie Reviews

Reviewed by FilmOtaku 8 / 10

One of the shining stars of the French New Wave

Every day life, however 'real' and gritty it may be, is rarely portrayed on film and was certainly a rarity in the 1950's. In Europe however, there was a movement in film-making that embraced this realism and searched for the deeper meaning in the 'here and now'. This is about the most basic and miniscule portion of the meaning behind the French New Wave of the 1950's – films that explored the filmmaker's surroundings, and eventually became an inspiration for filmmakers around the world. Francois Truffaut's 'The 400 Blows' is one of the most well-known films of this movement, and has been embraced and hailed as one of the greatest films of all time.

After viewing Truffaut's 'The 400 Blows', I have been ruminating over the deeper meaning behind his story of Antoine Doinel, a 14 year old boy in Paris who is having trouble in school and trouble at home. In school, he is marginalized as a trouble-maker, yet it is obvious that it is more a matter of him causing trouble by expressing himself creatively rather than following along with mundane assignments. At home, Doinel has to deal with an adulterous mother who only pays attention to him when it suits her needs, and a father who is barely present. Doinel responds by doing the only thing he feels he can do, and that is by acting up; eventually earning an expulsion from school and being sent to a juvenile prison camp by his parents.

Nothing is cut and dry in 'The 400 Blows'. If one were to take the film at face value, there would be a 'so what' feeling. What the film subtly explores is the disenfranchisement of youth. There is no joy in Doinel's life – anytime he tries to express himself creatively or acts up in a playful way he is shot down and metaphorically forced back into line. This is not a typical Paris street kid either, this is one who reads Balzac for pleasure and conveys intense emotion. The problem is that no one is there to notice or care. Another aspect of the French New Wave was that the films were not merely a product of a Hollywood factory; these were intensely personal films to the writers and directors. In the case of 'The 400 Blows', it is certain that Doinel is based on Truffaut, himself only 28 when he made the film. Truffaut's cinematography in 'The 400 Blows' is exquisite. We see a Paris that is not in Technicolor with colorful fountains like 'An American in Paris'. This is Paris from a Parisian's perspective – and the difference is breathtaking and intense. These are not Louis XVI style houses, they are tiny flats where people have to sleep in closets and walk up and down six flights of stairs. The city views are those of a native Parisian – the kind of tour one would get if they asked the average Parisian for non-tourist attractions.

There is still a lot that I have to learn and think about 'The 400 Blows' and French New Wave in general, but with the minute amount of understanding I have of it, I found it to be an intense film, one that left me emotional and craving enlightenment. Rarely is there a film that leaves that kind of impact on me, but Truffaut managed to leave me speechless and deep in thought with 'The Four Hundred Blows'.

--Shel

Reviewed by maax48 10 / 10

French cinema at its best

Truffaut has worked wonders here, creating a masterful tale of a boy confused, troubled, and unloved. Antoine Doinel (played superbly by Jean-Pierre Léaud in the lead role) has strict, unfaithful parents, and a harsh, oppressive teacher, and falls into delinquency because of his unhappiness. He lies, steals, skips school and runs away from home, and soon ends up in a juvenile delinquency centre.

Truffaut's inspiration for this film came from his own depressed childhood, so he bases Antoine on himself, including in terms of appearance. Being a 'New Wave' (a cinematographic movement of the sixties, involving directors who believed Hollywood films were too lavish and unreal) director, Truffaut always used a real location for the film, including breathtaking shots of Truffaut's native Paris. He also made a cameo in the film in the style of Hitchcock.

Delinquance is the key theme here. Antoine, who is a character who believes in liberty and freedom, and the way he is always locked up is repressive for him, and this provokes a constant need for him to be out.

Trying to make a realistic and moving film was Truffaut's aim, which, by watching this film, I realised that he had done amazingly well. Also, by combining humour and drama too, we have the defining French film of the 20th century. A black and white film that is full of colour. Bien sur, François Truffaut.

Reviewed by jdnmevans 10 / 10

Extraordiany Portrait Of A Parisian Youth - One Of The All Time Greats

In viewing François Truffaut's The 400 Blows for perhaps the fifth time, I finally began to realize its true greatness. Inspired by the director's childhood, The 400 Blows (Truffaut's first film) is primarily about a young boy growing up with his mother and stepfather in Paris and apparently heading into a life of crime. Most adults see the boy as a troublemaker, but in the film, he is meant to be the protagonist.

Antoine Doinel (Jean-Pierre Léaud) is the boy's name. He is resourceful, quiet, and does what he can to get by. At home, he has a struggling relationship with his parents, especially his mother. She is a woman of curious interests, always distracted by her incommodious son and a secret affair with a man from her job. Antoine's stepfather appears nice enough while treating his son as an equal in a good manner, although he is not really attached to him. However, both parents share common traits: they are away from home quite a bit and do not pay close enough attention to their son. Sadly enough, they only judge him by his behavior and by reports they get from other people.

At school, Antoine's teacher classifies him as a menacing troublemaker. Not that it is entirely Antoine's fault, he just has terrible luck. In the opening scene of the film, we see a poster with a half-naked woman on the front being passed around quietly by the students. The teacher is sitting at his desk with his head down, grading papers, until the poster comes to Antoine and he finds it. He sends Antoine to the corner of the room, where he writes a note of resentment on the wall. As punishment for that, he is to diagram the exact words that he wrote. At home that night, Antoine's homework is interrupted. Because he did not complete it, his good friend René convinces him to skip school the next day, although Antoine is reluctant at first. They walk around France and notice Antoine's mother kissing a man that is not her husband. She and her son make eye contact, but René assures his friend that everything will be alright. The next morning, as the boys return to school, Antoine lies to his teacher and says the reason he missed school was that his mother died. Everything is alright until his mother, furious, arrives at school and her son is immediately identified as a liar.

And yet, we see Antoine alone at home in some private, subtle, and hopeful moments. One of them being, his love for Balzac. He adores him, and we see him reading his biography and lighting a candle in a shrine in his honor at home. One day, at school, the students are proposed to write an essay on an important event in their life, and Antoine chooses the topic of his grandfather's death, in which he incorporates a phrase from his Balzac book. Alas, the teacher identifies this as plagiarism, and sends Antoine out of the classroom, along with René. The two boys stay at René's house for quite some time, living up to the expectations of a life of crime, until they steal a typewriter leaving Antoine caught trying to return it. He is later sent to a juvenile delinquent detention home.

The 400 Blows is not meant to be a tragedy. Rather, it is a character study following Antoine Doinel's life and decisions he makes as a direct result of the many things going on in it. Even The 400 Blows captures a few moments of happiness joy. One of these is a priceless sequence in which a gym teacher is leading Antoine's class for a jog through Paris, not realizing that the boys are peeling off and running away two by two. There is another scene after Antoine's shrine for Balzac catches on fire and his parents are stressing and yelling at him. His mother suggests an outing to a movie theater, where they end up going. After the film, we see the trio in the car, laughing and reflecting on what they had seen. We see this as a moment of hope for Antoine and his family, for this being the only time they are all happy together.

There are many poignant moments however, emerging late in the film after Antoine is caught for stealing the typewriter. His father is fed up with his behavior and escorts him to a police station where he is sent to a jail cell and later in a police wagon full of prostitutes and thieves, with his face peering through the bars, full of tears. His parents discuss with the authorities that they cannot not take him back because they believe he will only run away again. So, in turn, their son is taken to the juvenile delinquent school. These sequences express a reality of Antoine's life, in tune with the outcome of himself. He remains quiet and reserved towards the end of the film, as if he has nothing to say.

The story of Antoine Doinel and his many experiences allow a life to be filled with curiosity and exploration. Every second of the ninety-nine minutes of the film is not wasted. Truffaut allows every minute to be overflowing with creativity while still maintaining the central story of the protagonist. It is not a film that can be taken lightly as a family movie to be watched every Saturday night. It is a film to be given plenty of thought, carefully examined, and given a conclusion. The genius of the film does not rely on that, moreover, it relies on how much is put into the film. Down to the smallest detail, the film is able to maneuver and progress. The story contains elements of sadness, regret, family, warmth, happiness, humor, values, and choices. Just like life itself.

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