Les quatre cents coups
Tags: neo noir, cult, cute, sentimental

Plot synopsis:
Antoine Doinel (Jean-Pierre Léaud) is a young boy growing up in Paris during the 1950s. Misunderstood by his parents for playing truant from school and stealing, and tormented in school for discipline problems by his teacher (Guy Decomble), (Antoine falsely explains his being away from school was due to his mother's death), Antoine frequently runs away from both places. The boy finally quits school after being caught plagiarizing Balzac by his teacher. He steals a typewriter from his stepfather's (Albert Remy) work place to finance his plans to leave home, but is apprehended while trying to return it.
The stepfather turns Antoine over to the police and Antoine spends the night in jail, sharing a cell with prostitutes and thieves. During an interview with the judge, Antoine’s mother confesses that her husband is not Antoine’s biological father. Antoine is placed in an observation center for troubled youths near the seashore (as per his mother's wishes). A psychologist at the center probes reasons for Antoine's unhappiness, which the youth reveals in a fragmented series of monologues.
One day, while playing football with the other boys, Antoine escapes under a fence and runs away to the ocean, a place he has wanted to visit his entire life. He reaches the shoreline of the sea and runs into it. The film concludes with a freeze-frame of Antoine, and the camera optically zooms in on his face, looking into the camera.

Review: 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.
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.
THE FOUR HUNDRED BLOWS (François Truffaut - France 1959).Twelve-year-old Antoine Doinel (Jean-Pierre Léaud) has troubles at home and at school.
Jean-Pierre Léaud would continue his role as Antoine in four more films by Truffaut, "Love at Twenty" (1962), "Stolen Kisses" (1968), "Bed and Board" (1970) and "Love on the Run" (1979).Camera Obscura --- 9/10.
I think many of the characteristics of the New Wave -as pointed out in class- can be inferred form the differences between the last film we saw in class, Carné's Les enfants du paradis, and this work by Truffaut: real life situations, no sets, everyday people.
Truffaut enjoys playing around with the camera: extremely long takes as we have never seen in any of the previous films: some of them in the classroom, other in Antoine's friend house, or a magnificent take at the end of the film in which we see Antoine, then a panoramic view and then Antoine again, running towards the sea.
Or shows us inner feelings through close-ups: the scene in which Antoine lies to his father telling him he did not take his map.However, I think that the most important difference between previous films and this one is the treatment of action.
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.
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.
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.
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.
The Four Hundred Blows is the semi-autobiographical story of Antoine Doinel, a boy trapped in a life of contemtptuous authority who turns to outward rebellion.
He is a pathetic character forced into his position by his teacher and his almost uncaring mother.Throughout the film, Truffaut hints at the possibility of a happy life for the protagonist, but just as soon as the ideal is given to us, it is taken away.
As the seminal work of the French New Wave, the 1959 directorial debut of 27-year old Francois Truffaut has such a vaunted reputation that the final film is bound to disappoint.
As a point of comparison, listen to the by-the-numbers commentary by film scholar Brian Stonehill (recorded back in 1992), which is thoughtful and well researched but devoid of the human factor.The film's title comes from a French colloquialism that translates into "raising hell", an appropriate reference since the story focuses on a thirteen-year old hellion named Antoine, living in a poor section of Paris and neglected by parents downright arrogant in their dysfunctional nature.
Truffaut tracks Antoine's life through a series of dispiriting episodes that ultimately lead him to be sent away to a reformatory after he gets caught returning a stolen typewriter and his mother and stepfather tire of their responsibility over him.
To Truffaut's immense credit, the film feels stark and naturalistic without resorting to dramatic manipulation, and he finds the ideal Antoine in Jean-Pierre Leaud, who brings out the confusion, angst and wandering attention of his character in realistic terms.
It is heartbreaking to see how bleak his life becomes, yet Leaud imbues the incorrigible, often intolerable side of Antoine with fervor.There are several interesting extras included with the 2006 DVD package starting with two separate interviews with Truffaut, the first a year after the film's release discussing he film's impact and the second five years later when we see the filmmaker in a more reflective mood about his cinematic influences.
The memorable story of young, troubled Antoine is worth seeing for a good number of reasons, probably most of all for the thoughtful direction by François Truffaut.
It stands out from most other movies about troubled youths, both in the way that it portrays the main character and in making such good use of seemingly minor events in showing how they shape Antoine's life.As Antoine, Jean-Pierre Léaud (in the role with which he would always be identified) strikes a nice balance in making his character come to life without making any of his actions seem forced or over-dramatic.
Truffaut sets things up for him perfectly, by presenting a great variety of situations in his life that allow Antoine's character to come out naturally.
At the time of its release it was hailed as an important film and subsequently proved to be immensely influential in the context of the French New Wave.The semi-autobiographical story concerns a Parisian adolescent (Jean-Pierre Léaud) who attempts to escape problems at home and at school by delving into a life of petty crime.
It depicts some events in the life of Antoine Doinel, a young French boy who gets into a lot of trouble no matter what he does.
Good movie, but hardly brilliant or a classic.A boy, Antoine Doinel, is often in trouble at school and doesn't get along with his parents, especially his mother.
6.The topic=stolen childhood  had better days,before (Julien Duvivier's "Poil de carotte" ,Luis Bunuel's "los olvidados") and will have after (Maurice Pialat's "l'enfance nue",Kenneth Loach's "Kes") I do not want to demean Truffaut,his movie is not bad,but,frankly,French movie buffs,prefer "Jules and Jim" "l'enfant sauvage" (a film honest ,true and commercially uncompromizing to a fault)"l'argent de poche"(as academic as "400 coups" but much more funny)or his nice Hitchcock pastiche "vivement dimanche"..
Actually, I have been bored to varying degrees by all the Doinel films and find Jean-Pierre Leaud, who plays Doniel in "The 400 Blows" as well as the other films in the series, to be a nincompoop.The technique in this film is very like the Italian neo-realist films, especially a film like "Open City."  It's shot in low-contrast black and white, it's shot in actual locations around Paris; it presents a slice of life.Despite all I've written above, I've seen many Truffaut films that I've liked very much (Shoot the Piano Player, Jules and Jim, The Soft Skin, The Bride Wore Black, Mississippi Mermaid (complete version), The Woman Next Door, among others) but not the Antoine Doniel films..
It's of course ridicules to call this movie a bad one but as far as so called new wave French movies go, this isn't the best example of it, in my opinion.Can't really see how people can call this one of the most powerful and emotional drama's ever made, unless you perhaps had a tough youth yourself and can identify yourself with its young main character.
It's an original but also risky approach to the genre, that in this case did work out, also really thanks to Jean-Pierre Léaud, who plays the young boy.So it all in all really remains a well put together movie, by François Truffaut, that just didn't really ever got to me at a more emotional level.
I only have seen three and I'm a little bit hesitated to watch "Fahrenheit 451".The 400 blows has some powerful meanings and many appreciate it for its historical importance as one of the first (if not the first already) new wave movies in French cinema history.The best thing in the movie ..
So when I saw it tonight, it was like seeing something brand new.I remembered only a few of the most memorable scenes: the carnival ride (followed by Antoine catching his mother with a strange man), the whole Balzac sequence, the psychologist's interview, and, of course, the famous final shot, the freeze-frame of Antoine Doinel looking into the camera.
Semi-autobiographical, the movie tells the story of Antoine Doinel (Jean-Pierre Leaud), a misunderstood schoolboy.
Upon first seeing the Francois Truffaut film 400 Blows, I was struck with the thought that this film was either designed to scar children away from a life of crime or just a social commentary on juvenile delinquency in Paris in the early fifties.
The characters were terrific: the philandering mother, Antoine's caustic old codger of a prof, and his little cigar smoking chum who lived in the cat-house, among others.What really did it for me though were the truly wonderful Parisian street scenes that leave you totally immersed in the story -- to the point where I felt slightly jolted when I returned to my 21st century existence upon the film's conclusion.
Having re-watched one of my favourite films recently, Shane Meadows 1999 effort 'A Room for Romeo Brass', another story of troubled boys in dysfunctional families, I find myself amazed how much more in common 'The Hundred Blows' has with that film than with its contemporaries.Truffaut also gets a fine performance from his young leading actor Jean-Pierre Leaud.
Antoine Doinel (Jean-Pierre Léaud),is an attractive troubled adolescent who chooses the cinema and to read Balzac as escapism,imagine how far away this boy is from our time of predominant `video games'.Also was interesting the black and white cinematography and to see a different Paris from the 1950s.Every great film has its unforgetable moments (like Mouchette's night in the woods,).
I can choose three or four in this movie ,but I prefer two great ones: Antoine watching through the  back window of the police van while this is moving away(also Antoine in jail pulling his turtleneck over his nose).The other emblematic scene is the last one:Antoine Doinel escapes, and the great moment when he rushes, arms open, toward the sea, savoring his freedom, is captured by Truffaut in a memorable freeze frame.Jean-Pierre Léaud brings a natural performance of tenderness and quiet desperation.
Truffaut's semi-autobiographical film about the struggles of youth is obviously infused with great emotion, telling a touching tale of a boy who can't seem to fit in wherever he goes, and turns to a life of petty crime.
Almost documentary like in its honest depiction of the boy's life, this was one of the most important films of the French new wave, and it's influence continues to this day..
The film follows Antonie through the troubles he has in his young life, always painting him as a realistic character  never too simplistic so as to be totally likable (what child is!?) but not a brat like some kids are in American movies.
Of course, aside from him the other star is Truffaut himself and (as well as a cameo) his direction is great, natural, intimate and painting a convincing world for this story to occur within.Overall this is a small little film that succeeds in making the life of Antonie be very interesting and engaging.
Twelve-year-old Antoine Doinel, played very winningly by Jean-Pierre Leaud, doesn't suffer "400 blows," although he does get mistreated quite a bit, and he doesn't mean to raise hell or to be a problem to his parents or society.
But Truffaut wants to make sure we don't misunderstand so he has the boy get into trouble for (1) having a magazine passed to him in class, (2) unconsciously memorizing Balzac (he is accused of plagiarism by his fascist teacher) (3) returning a typewriter, which admittedly he had lifted, and (4) lighting a candle in honor of Balzac (which starts a fire).My favorite scene is the one with the psychiatrist in which we hear her questions, but the camera stays on Antoine.
One of the best-loved and most memorable of all French films, Les quatre cents coups established François Truffaut as a great film director and launched the acting career of Jean-Pierre Léaud.This is a poignant story about the life of a young teenage boy who seeks escape from his loveless, lonely existence by committing minor crimes and creating fantasies.
His futile attempts to please his parents, his empty fantasies, his loneliness when he takes to the streets of Paris - glimpses of a broken childhood that immortalises the young Antoine as possibly one of the most sympathetic figure in French cinema history.Henri Decae's black and white photography appears the perfect medium for Truffaut's wistful tale.
The final shots, with Antoine apparently finding his freedom on a vast expanse of beach, but leading no where but to the open sea, are similarly very moving.Decae's photography and Truffaut's script are very well complemented by Jean Constantin engaging musical score, having a child-like simplicity that seems to underline the futility of Antoine's aspirations for a better life.Les quatre cents coups was instantly successfully when it was released in 1959, winning Truffaut the Best Director award at the Cannes Film Festival.
It tells about a young Parisian school boy Antoine Doinel (Jean-Pierre Léaud), who struggles in every area of his life.
"The 400 Blows" is a drama movie in which we watch a young boy whose parents do not pay the appropriate attention to him and leave him many times alone.
In this movie I believe the best interpretation was Jean-Pierre Léaud's who played as Antoine Doinel and he was simply outstanding.
Another great interpretation made by Antoine Doinel who played as the teacher of French.Finally I have to say that "The 400 Blows" is a must see movie and it really worth the time that you are going to spend on it.
This movie allows those of us who were never young hellraisers like Truffaut or his protagonist Antoine Doinel (Jean-Pierre Léaud) to understand him and discover the universality of his story.
I have seen a few other Truffaut films, and one of the things I like best about his style is his skillful use of long wordless sequences, often set to music.
There is the physical education class run through the streets with the teacher losing students, the carnival wheel and finally the best ending scene to any movie ever put on film.
13-year-old Antoine turns to a life of small-time crime to escape the neglect he receives at home from his parents and the harsh criticism of his teacher.
As Antoine ventures out on his own, he discovers the freedom he wants is not so easy to attain.François Truffaut film is just perfect:Magnificent Screenplay and it´s masterfully shot,the acting by Jean-Pierre Léaud is excellent...RATING:5 out of 5 PERFECT!!.
This marvelous film from one of my favorite foreign directors, Francois Truffaut, remains one of the best foreign-language films ever made.To many, the word "foreign" as it applies to movies means difficult, but "The 400 Blows" is actually a very simple tale simply told about a young man who turns to a life of petty crime for a lack of anything better to do with his life.
The story is truly beautiful as we watch this young boy do whatever he can to enjoy life and free himself from the stranglehold of his parents and his school teacher.
Jean-Pierre Léaud gives a performance of a life time in the first installment of Truffaut's autobiographical youth, he stars as Antoine Doinel a troubled Parisian boy who struggles with authority and dealing with his common life.
This is the fist chapter of the saga of Antoine Doinel, performed in a masterly manner during a long period of his life (twenty years) by the surprising Jean-Pierre Léaud, followed step by step by the pygmalion Truffaut during the whole course of his full physical maturity, beginning from the actor's early years.The present movie deals with the topic of unquiet and misunderstood adolescence, clearly inspired by Edmund' character, the young boy who lives in the destructed Germany doing all kinds of work in Rossellini's "Germania anno zero".
This young boy is Antoine Doinel, (Jean-Pierre Leaud) who is a rather rebellious young man in school and causes all kinds of problems with his teachers.
The 400 Blow Is the first film Iv'e seen from François Truffaut, and Is a quintessential piece of cinema from the French new wave.
The 400 Blows against the classical Hollywood film clichés (in a good way), and it's episodic and somewhat documentary-like cinematic techniques help to create the authentic story of a 14-year-old boy.
In this movie Truffaut manages to describe a delinquent kid and his relationships with friends, parents and teachers through an amazing screenplay and great acting of the whole cast.The explanations of what, where and why in the boys life are so brilliantly incorporated in the storyline that you really get a sense of the times and the ways of life, but also the sense of dysfunctional families whenever or wherever.
'The 400 Blows', Truffaut's debut feature film, marks the beginning of his screen persona, Antoine Doinel; it's one of the most noted films of the French New Wave, and one of the most intriguing stories on adolescence.
The 400 Blows (1959) **** (out of 4) Francois Truffaut's tale of Antoine Doinel (Jean-Pierre Leaud), a young boy who is misunderstood by his parents and teachers.