This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
The 400 Blows
Angel faces hell-bent for violence.
Intensely touching story of a misunderstood young adolescent who delves into a life of petty crime.
How do you explain what it's like to lose yourself in a film? The 400 Blows describes it particularly well. Francois Truffaut was an expert cinephile, after all: sneaking into theaters via washroom windows, gravitating closer and closer toward the screen so that for a few hours his world was only moving images shedding diffused light on hundreds of faces turned up to the screen.
But perhaps Truffaut wasn't intent on forgetting the rest of the world when he started sitting so close to the screen; perhaps he was simply dealing with weakening eyesight. That would be quite like him and his work, anyway: mundane realities finding their way into cinema in a manner that renders them achingly poetic.
François Truffaut's feature film debut is an intensely touching portrait of our adolescent years which beautifully captures the day-to-day activities we spent doing for hours despite it being deemed useless by our parents & teachers, the classes we bunked to go for movies or play, the teachers we loved to hate and the many times we were 'disciplined' for the smallest of things.
The 400 Blows is my first stint with this director's works & the elegant manner in which he has unfolded this story before our eyes is sheer poetry. Set in early 1950s Paris, the film is an expertly crafted character study of a young adolescent who's often misunderstood by his peers &, after being left with no attention, delves…
I've been hemming and hawing over this film all day. Having only seen Fahrenheit 451, I hesitate to comment on Truffaut's work. It's as if I were to say about Hitchcock's Rear Window, "Hey, have you noticed that everything is through that nosy Jeff's point of view?" It's laughable. I mean books have been written on 400 Blows and now I get to say something new? :)
So, here's my idea. If all of you Truffaut connoisseurs don't mind, I'm going to go over here and talk to my imaginary friend. You know, the one who knows as little as I do. And then I'll come back and mingle... (much less embarrassing this way)
Hey Jack, do you remember when…
Review In A Nutshell:
So far I have seen only two French New Wave films, and both of them were from Francois Truffaut. The first I have seen was Jules and Jim, which I felt was a bit of a disappointment due to its lack of empathetic characters and lack of drama. The second would be The 400 Blows. I came into this film not knowing how I would feel as my feelings towards the director's works have been like a see-saw, and the hype for this was large but I tried my best not…
Day #8 in my It's a Large World After All Challenge (AKA 30 Days, 30 Countries). Country: France
"Your parents say you're always lying."
"Oh, I lie now and then, I suppose. Sometimes I'd tell them the truth and they still wouldn't believe me, so I prefer to lie."
The 400 Blows is my second glimpse into the French New Wave, and is a much more compelling film for the genre for me than Breathless, the film I had seen prior. Through the incredibly compelling character of Antoine Doiniel, The 400 Blows paints an accurate and powerful picture of adolescence, a coming of age movie and an…
Part of Lise and Jonnie’s What A Wonderful World: May 30 days, 30 countries.
I came out of this morning’s screening of The 400 Blows rather cold and unaffected. It’s not that I didn’t like it or appreciate its style; it’s just that I didn’t have any feeling for Antoine. A few hours have passed now, and I think that may be exactly what Truffaut wanted me to feel, or not feel.
The young Jean-Pierre Leaud gave a brilliant, unaffected, performance. His character never asked for sympathy. When he was recounting his childhood to the psychologist near the end of the film, his delivery was very matter of fact. Absence of malice. At the beginning of the film we…
this was so good!!!
While I was not shock-and-awed in a comparable way to Breathless, this was wonderful in its semi-autobiographical nature and barebones, no-frills storyline. The influence this film permanently imbued in the world of cinema is prominent in dozens of narratives, ranging from Touki Bouki to the typewriter scene in Slacker to Xavier Dolan’s Mommy. The ending tracking shot was also incredible; yet everything that could be said about this revolutionary film has been already. Debating giving Catcher in the Rye a reread after this one.
I decided to delve more into classic film today, and I'm certainly glad I started with The 400 Blows. This French film is a beautiful story about a young delinquent who delves into small acts of crime. The film does a wonderful job of displaying the hardships of parent to children dynamics and how the past can truly affect someone, even a younger boy. The ending was truly masterful, as the final shot certainly leaves you with a lot to consider. Overall, truly fantastic.
My childhood wasn't much like Antoine's, but I sure do relate to him.
In terms of tone (from my limited experience with both) this seems like it's halfway between the fun yet somewhat detached spirit of Godard's films and the bleak moral landscape of Ladri di Biciclette - which is right on the money for me. This feels gritty and real, but not lacking in the sentiment to make the melancholy land.
what a lovely film to be my 1,000 entry on this website
Συγκλονιστικό αν το καλοσκεφτείς, πως η ευαίσθητη εφηβεία δεν δέχεται κριτική... και δε από τα άτομα που θα έπρεπε να την διαμορφώνουν! Η ματιά του Τρυφώ στην ιστορία ενός ατίθασου αγοριού ξερνάει αλήθειες που μέχρι και σήμερα, 67 χρόνια αργότερα, δεν φαίνεται να υπολογίζουμε!
ah, france: where nobody is happy and childhood sucks even more than you remembered, at least if you're a louse like me
Una de las principales representantes de la Nouvelle vague, y definitivamente otro destacable debut, esta vez bajo el designio de François Truffaut.
Por la temática me recordó un poco a otra precursora de su propio movimiento cinematográfico, pero en lugar de la «nueva ola francesa», es una de las manifestaciones del neorrealismo italiano, Sciuscià (1946) de Vittorio De Sica, que aparte de también estar concebida en plena posguerra, comparten otras ciertas similitudes en cuestión de trama, pero tal vez siendo esta un poco más icónica y menos tradicionalista.
Les quatre cents coups se sostiene firmemente de unas tomas bastante distinguidas que van bien acompañadas de apropiadas composiciones musicales. De seguro continuaré explorando los posteriores trabajos de Truffaut.
—Your parents say you're always lying.
—Oh, I lie now and then, I suppose. Sometimes I'd tell them the truth and they still wouldn't believe me, so I prefer to lie.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…