The 400 Blows

source: The 400 Blows

Les quatre cents coups

I picked this up precisely because of the high IMDb rating, and baffled by the time I finished the film. It's a hard slog that leads nowhere. The 400 Blows is about a young sociopath in the making; the kind of kid who needs a good kick in the teeth to set him straight before he turns into the guy who carjacks you in a Wal-Mart parking lot at the age of 17. Our anti-hero is unrepentant, unintelligent, and most perilously -- boring! There could have been a good film here, if the director had decided to include a plot and not just follow a kid around the streets of Paris in 1959 with a camera. Yeah yeah, it's French New Wave, it's Truffaunt, let's fawn over it! Or, not. Good for students of film and the pretentious, but folks looking for an interesting story or characters they care about should look elsewhere. The cinematography had some high points, and it was fun to see Paris on the cusp of the 60s. Other than that: skip it. If you absolutely must see a great story about kids in trouble with the law, watch City of God.

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. However, the pristine print that comes with the new Criterion Collection DVD really makes me realize what a brave and emotionally resonant film he made ostensibly about his own troubled adolescence. It's worth seeing twice - once for the film itself and a second time to listen to the newly recorded commentary by Truffaut's childhood friend Robert Lachenay (the true-life inspiration for Rene in the film). Speaking in French but subtitled in English, he provides insights into the story and context of the film that no film scholar or even production associate could possibly provide. 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. Antoine consequently lives a street urchin's life as he lies to people in authority - his parents, his teachers, and the police - since he admits rather sadly that the truth doesn't make any difference. 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. He is especially impressive in an apparently improvised scene where he is interviewed by the school authorities about why his life has come to this. 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. Leaud is featured in 16mm screen test footage where his naturally ebullient personality emerges and then after the 1959 Cannes Film Festival where puberty has apparently kicked in and then in 1965 as a comparatively reserved twenty-year old. The screen test of Richard Kanayan (who has a minor role as a schoolmate) is amusing for his Satchmo-inspired rendition of "When the Saints Go Marching In" and his eerie resemblance to Fantasy Island's Tattoo, Herve Villechaize. Be forewarned that the film is relentlessly downbeat, but Truffaut's emotional investment and consummate abilities as a filmmaker, even at this stage of his career, make this essential viewing.

François Truffaut's "The 400 Blows" is routinely listed as one of the greatest films in all of foreign cinema. 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. Unfortunately, he never receives more than a temporary respite from his predicament and frequently ends up deeper in trouble. The script is fairly loose and strives for realism above all else. Enforcing Truffaut's aim of realism is the group of actors that he assembled. Léaud indisputably carries the film, at once delivering an authentic performance while also showing a maturity beyond his years. While not quite as impressive, the supporting cast is nevertheless uniformly solid, perhaps none moreso than Guy Decomble as Antoine's antagonist at school. Truffaut's direction is exceedingly well-handled, not to mention impressive for a debut feature. The film also sports attractive cinematography and a lively score by Jean Constantin. Indeed, the film can scarcely be faulted for any flaw in its construction or execution. Instead, my tempered enthusiasm is the result of feeling a certain amount of detachment from the main character. Naturally, this sort of objection is largely personal so your mileage may vary.

This is the sort of thing that only now thrills the film eggheads. After all, Feierstein's Flex Crush will have you know that Real Men don't watch anything by Truffaut. It might have been interesting if Truffaut had anything to -say- here. The camera-as-voyeur motif was nothing new. Have we all forgotten De Sica's "Bicycle Thief"? Or anything by Hitchcock? So all we get is the extended metaphor of the juvenile as Truffaut, who spends all his free time 'screwing up his eyes' at the movies, who wrecks schoolroom discipline, gets accused of plagiarism(the many petty thefts), and ultimately escapes societal confines to make 'his own movie'. Sorry...been there, done that too many times for this to matter.

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. Many of the settings are in themselves interesting and creative, despite being located in familiar types of places. The story is written carefully so as to allow the viewer to identify with and sympathize with Antoine, while still seeing his faults clearly. What is often the most affecting thing about it is the way that Truffaut shows how even the most commonplace kinds of events can have such an effect on a maturing person, if they are a source of disappointed expectations or misunderstood intentions. To make this kind of movie so effectively without relying on violent or shocking material is an admirable achievement, and it repays careful thought and attention while watching it.

THE FOUR HUNDRED BLOWS (François Truffaut - France 1959). Twelve-year-old Antoine Doinel (Jean-Pierre Léaud) has troubles at home and at school. Ignored and neglected by his parents, his relationship with his mother is further strained when he discovers that she has taken a secret lover. Added to this, his school teachers have written him off as a trouble maker and, with luck seemingly never on his side, it is Antoine who ends up getting the blame for bad behaviour. Finding refuge only in his love of cinema, Antoine soon finds it necessary to break free and discover what the world can offer outside the confines of everyday life. I have always struggled with the labeling of this film as one of the pivotal entrances in the "Nouvelle Vague". Since Jean-Luc Godard's "Au Bout de Soufflé", who uses a completely different approach to film-making, with his restless jump-cutting and endless references to pop culture, Truffaut presents his case clear cut, as realistic as possible. But this was something completely different from the way American films portrayed juvenile delinquency so far. No iconic trouble makers like James Dean or Marlon Brando, just a realistic portrait of a twelve-year old boy sliding into isolation. The very idea alone was something novel, seldom depicted in a way like this. Much of the praise must go to Jean-Pierre Léaud, who never even seems to be acting. His every movement, thought, expression come across as completely natural. Truly, one of the most remarkable performances of such a young actor I've ever seen. Watching this over 40 years after it was made, it all looks deceptively simple, with Truffaut's perfect integration of music and image, location shooting on the streets of Paris and the naturalistic performances. Truffaut used many innovations but they are not easily noticeable as in Godard's work. This was for instance the first French film to be shot in widescreen (aspect ratio 2.35:1), which required much planning on Truffaut's part, with some surprising results. In many scenes we don't see the other person Antoine is talking to, which gives the viewer the illusion as if Antoine is almost talking directly to the camera. 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

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. Truffaut shows his mastery of the cinema in this, his freshman attempt. The film is perfectly cast with Dionel relaying neutral facial expressions for the majority of the film. The boy, although not necessarily evoking sympathy from the audience, definitely evokes empathy. 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. The mood shifts in the film are fabulously orchestrated through contrasting scenes, music, and even acting. From the opening sequence through the final, enigmatic still shot, the movie is a masterpiece of both French and world cinema. It is a must see.

I confess I didn't seem to like this film nearly as much as most people here seem to have, and unlike them I don't have much to say. I understand why people love/loved this film. When it was released, it was original and inspirational. Nothing else like it existed. The characters are easy to understand and relate to, the story as well. Nothing wrong there. However, it was mostly the way the film was shot that ruined it for me. It's full of long, metaphoric, unimportant shots that really just confused me rather than appealed to me. I often wondered just when is Truffaut going to end this overly-long shot, not out of suspense but out of frustrated boredom. Overall it's a simple, sad story that will leave you sad and confused. I respect it for it's craftsmenship, but it's not even remotely entertaining or thought-provoking. I'm sure people would accuse me for being shallow, but this is an honest opinion and I have studied and read about this film. I have thought much about it, and I'm still of the same opinion.