All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The 400 Blows
Angel faces hell-bent for violence.
Intensely touching story of a misunderstood young adolescent who left without attention, 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…
Ever since I first noticed Francois Truffaut in Steven Spielberg's Close Encounters of the Third Kind. I quickly figured out that he was a famous French director....but his movies were not known to me at the time. Well over the years I have watched a few of his movies....it took watching The 400 Blows to finally find one of his movies that I liked.
In this one....a 13 year old boy is having a difficult childhood. It seems that he is always getting in trouble. When we first meet him, he is in trouble for passing notes in school....by the end of the movie he is in a detention home for boys. The movie is shot in black and white…
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…
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…
"400 Blows"... uh... how can I start?
I've begun french movies with this masterpiece. It is the best french movie in my opinion and my second favorite movie. The director, Francois Truffaut reflects Antoine Doinel's life as a real experience. He actually shows his troubled childhood in the "400 Blows" and this makes the movie the first example of French new wave movies. I felt while watching that when Antoine walked, I walked. When he ran, I ran. I experienced his life as mine. This is one of the most important feature of French new wave movies (Nouvelle Vague) , so life can be seen more real in these type of films. That's because I feel real emotions and sorrows.…
Having my Nouvelle Vague exposure restricted to Breathless, The 400 Blows was a delightful and surprising watch.
It was nothing like Godard's film.
If you dislike the french new wave having only seen self-indulgent Jean-Luc films, you're missing out.
When confronted by a film as important and remarkable as this, I tend to find myself at a loss for something to say.
Of course that final shot is iconic, for it captures the child not only at the edge of the ocean he's always longed to see, but at the edge of his childhood, for his parents and society have given up on him, and now he stands truly alone in a vast world.
Of course it's a giant of cinema, for it uses the grand truth of cinema to focus not on the large, "important" issues, but on something so fleeting and ethereal as childhood.
Of course I loved it, for these reasons and more.
The 400 Blows is a film I'd heard of but knew nothing about, it appears in many top film lists and it was time to see it. The story is about a troubled young boy who has issues with his parents and school, he was played wonderfully by Jean-Pierre Leaud, a very natural performance. I loved the backdrop of Paris, lovely cinematography. A very good film.
Πρεμιέρα σαιζόν στο σινέ Ζέφυρος με αυτή την ταινία κι αν this isn't happiness τότε δεν ξέρω τί είναι.
What an interesting film.
I simultaneously pity Antoine the boy and fear the man Antoine will become. Maybe even more fearful are the teachers, parents, and juvenile justice system that facilitate such lives.
The ambiguous yet still empty look in Antoine's face as the final frame captures his realization of a dream: is this the last great thing life has to offer him?
1959 was an incredible year for film. The movie is stark, removed and fairly merciless to its protagonist. It reminded me quite a bit of Clockwork Orange in that respect. It’s always difficult with revolutionary movies to get a sense of their impact at the time of their release. A few (Citizen Kane, The Earrings of Madame de…) maintain such palpable energy that their camerawork remains fresh and shocking. The 400 Blows is not nearly so energetic as either of those films, and I don’t know enough about French neorealism to see its antecedents. A few of the shots, though, (most particularly the famous long take of Antoine running down a country road) are stunningly fresh. It’s a stark, brutal movie about crime and punishment. It earns its dedication to Andre Bazin. (Incidentally, everyone is talking about Boyhood in relation to Michael Apted’s Up series, but Truffaut’s Antoine Doinel films seem to be the real touchstone for Linklater.)
The 400 blows and even more that life brings to Antoine. The most harmful blow is the lack of love from his parents, the feeling of not knowing where he belongs. There is so much symbolism in this film that I only understood after seeing it. Such a beautiful film that deserves a second watching.
I think Letterboxd has to invest in a love button just for this film.