The 400 Blows - Criterion Collection

This is the last Criterion Blu-ray I'll ever have to buy in that cheap paper jacket. Shame on you Criterion for producing such a thing. However, all their new discs have the plastic shell you expect from Blu-rays and you might get one after the original pressing runs out.

The film is flawlessly presented and I recommend it highly to anyone interested in Truffaut, french films, film history, and all around creative film making. If you're idea of a good film is something directed by Michael Bay then stay clear of this one. 'Armageddon' or "The Rock" this is not.

Truffart's masterpiece, everyone should see this film at least once, mere words fail when describing this gem of a film!

A boy in France isn't interested in school and feels alienated by his parents. His world begins to increasingly be surrounded by like minded friends his own age especially one boy who often accompanies him in misbehavior. Based on true story, Francois Truffaut creates a moving portrait of a child on his way through the juvenile legal system including the detention centers and homes. The ending is especially affecting.

The movie announced the talent of Francois Truffaut and still makes a powerful impact 50 years later.
We follow the life of Antoine, a 13-year-old Parisian kid with a knack of getting himself into trouble. He's persecuted in turn by his stupid French literature teacher, his adoptive father and his cold, neglectful mother and winds up in a juvenile institution after stealing a typewriter from his father's office, failing to sell it and getting caught trying to return it.
Antoine is basically not a bad kid but each petty lie and immature stunt gets him deeper and deeper into trouble from a system that seems capable only of punishing and never of understanding him.
We learn that Antoine's mother never wanted him and sees him as a nuisance and a burden; that his adoptive father has no real investment in his success and that the authority figures he meets are interested only in processing him and never relate to him as a person.
This movie is full of exuberant cinemagraphic moments: the camera swoops up and down like a bird watching a clueless teacher taking his class for exercise and having the kids run off behind his back one by one. Antoine and his friend emerge from the Metro and a flock of pigeons explodes into the air. Antoine spends the night alone, surrounded by the cold, unfeeling statues of the Tuileries Gardens.
One notable aspect: every single adult in this movie is an idiot and most are also casually cruel.
The message of this humanistic film is that children need love to thrive. Without it, they are we are victims.

If you are coming late to this pathbreaking film after having seen and enjoyed other Truffaut movies, be forewarned: it's not much like Jules et Jim, or The Bride Wore Black, or even the later Antoine Doinel features. Truffaut spent his childhood watching movies, especially the American studio products turned out by men who became his heroes -- Hawks, Ford, Hitchcock, Ray. In his later films, he unabashedly adapted their styles, combining commercial narrative techniques with his own New Wave sensibility. The result was a type of French cinema that could both entertain and dig deeper than a typical Hollywood vehicle.

In The 400 Blows, his first full-length film, Truffaut opted instead for a documentary style that he felt offered the best chance of telling the truth. (He knew this truth very well, because the story is largely autobiographical.) Elements that typically enhance a studio film and nudge the viewer toward a certain reaction are almost totally absent. The camera "passively" records whatever is taking place, allowing fairly long scenes to unfold in real time. There are few quick cuts or editing that calls attention to itself or to particular lines. The music seems perfunctory, serving more to bridge scenes or otherwise offer continuity (again, in the manner of a documentary) than to prompt emotional responses or underline the psychology of a moment. Dialogue is usually banal, i.e., naturalistic. The characters, even the least sympathetic ones, don't get sorted into heroes or villains. We can sympathize with all of them even as we discern their obvious limitations.

In other words, not a great date movie. Just a courageous first effort by someone who wasn't afraid to translate strong ideas about film into an actual film. I'm glad I finally watched it, although I will probably continue to treasure other Truffaut movies much more.

The Blu-Ray transfer seems superb. Rich variations of black and gray and white. Beautiful visual detail. Wide-screen format, which surprised me, as with Jules et Jim. (Why have I always assumed that the great European film-makers of the 50s and 60s stuck with Academy Ratio?) Technically another great job by Criterion.

Highly recommended, with the implicit caveats noted.

Version: U.S.A / Criterion / Region A
MPEG-4 AVC BD-50 / AACS
Aspect Ratio: 2.35:1
Running time: 1:40:02
Movie size: 29,136,844,800 bytes
Disc size: 42,025,416,450 bytes
Total bit rate: 38.83 Mbps
Average video bit rate: 34.83 Mbps

LPCM Audio French 768 kbps 1.0 / 48 kHz / 768 kbps / 16-bit
Dolby Digital Audio English 192 kbps 1.0 / 48 kHz / 192 kbps
Dolby Digital Audio French 192 kbps 1.0 / 48 kHz / 192 kbps

Subtitles: English SDH
Number of chapters: 23

#Audio commentaries
#Rare audition footage (HD - 6m:24s)
#Newsreel footage (HD - 5m:51s)
#Excerpt from a French TV program (HD - 22m:27s)
#Television interview (HD - 6m:51s)
#Theatrical trailer (3m:47s)
#8-page Close to Home booklet with essay

In 1959, Francois Truffaut released a semibiographical film about his life with "the 4oo blows" (Les quatre cents coups). A film highly regarded as a definitive film that showcases French New Wave (a term to describe a group of French filmmakers in the 1950's-1960's that were inspired by classic Hollywood cinema and Italian Neorealism).

The film won several awards which include "Best Director Award" at the 1959 Cannes Film Festival and "Best Original Screenplay" at the 32nd Annual Academy Awards. Needless to say, the film made Francois Truffaut and young actor Jean-Pierre Léaud Internationally known and definitely gave movie fans a taste of the French New Wave film.

"the 400 blows" is the first of five films spanning around 20 years based on the character of Antoine Doinel (played by Jean-Pierre Léaud). Each film showcases the character's life as a teenager through his 30's but for "the 400 blows", the film focuses on the life of a troubled teenager.

Although not based 100% on Director Francois Truffaut's real life, a large part of the film was based on his troubled family life and in order for him to capture that life he had, he picked the right person with Jean-Pierre Leaud, an unknown actor (who was just as an antisocial loner) who was 13 and a half years old but had that rebellious nature that Truffaut found. A boy who would not have to learn a script but to use his his own words. This added to the realism of the film and what made this film so fantastic and engrossing just to watch.

VIDEO & AUDIO:

"the 400 blows" is presented in 1080p High Definition with an aspect ratio of 2:35:1. Black bars and the top and bottom of the screen are normal for this format and the transfer is much different from the previous DVD release from Criterion years go as this was a high-definition digital transfer cared on a Spirit Datacine form a 35mm composite fine-gain master positive.

As with most Criterion Blu-ray releases, the company also had thousands of instances of dirt, debris and scratches removed using the MTI Digital Restoration System. The picture quality, although in black and white, looks incredible for a film released back in 1959. Black are nice and deep but you can see a lot more detail in the surroundings.

Suffice to say, THE CRITERION COLLECTION releases films with how the director intended the film to be. There is no DNR (digital noise reduction) and no softness and the film keeps the grain and retains its film-like quality. The film just looks beautiful on Blu-ray!

As for audio, the soundtrack was mastered at 24-bit from a 35mm optical soundtrack and audio restoration tools were used to reduce clicks, pops, hiss and crackle. The audio has an uncompressed monaural soundtrack. My Onkyo receiver received a multichannel signal (via bitstream) but overall, I did not select a monaural setting when watching the film but I found the dialog to be clear and understandable. Music by Jean Constantin was also also clear.

Subtitles are featured in English.

SPECIAL FEATURES:

"the 400 blows" comes with the following special features:

* Audio commentary by cinema professor Brian Stonehill - Brian Stonehill's audio commentary is very informative. This commentary was featured on the original Criterion DVD release and goes into depth about the themes of the film and overall, a solid commentary in which Stonehill also has included interviews with people involved with the film.
* Audio commentary by Francois Truffaut's lifelong friend Robert Lachenay - Robert Lachenay is Antoine's Rene. When they were younger, Truffaut's parents thought he was the bad influence and vice versa. But these two remained friends for a long time and with Lachenay working as an assistant to the film, we learn about the comparisons of Antoine Doinel and Truffaut. Similarities and differences of what really happened in the life of Director Francois Truffaut.
* Audition footage of Jean-Pierre Leaud, Patrick Auffay and Richard Kanayan - (6:24) A short segment featuring rare 16mm screen tests the auditions for the main talents auditioning for the role of Antoine Doinel, Rene and one of the Les Enfants, Richard Kanayan (who appeared in Truffaut's "Shoot the Piano Player" in 1960).
* Cannes 1959 - (5:51) A short newsreel frim Francois Chalais and JacquesPlanche's "Reflets de Cannes 1959 of Jean-Pierre Léaud as he goes to Cannes and is interviewed by press and the ovation the film received by the audience.
* Cineaste de notre temps - (22:26) This featurette is an excerpt from "Francois Truffaut ou l'espirit critique" episode from "Cineaste de Notre temps" which was shown in France back in December 2, 1965. Truffaut discusses his childhood, learning about his passion of watching films, his writing of Cahiers du cinema and the character of Antoine Doinel. The segment also features interviews with Jean-Pierre Léaud (Antoine), Albert Remy (father) and Claude de Givray (a friend of Truffaut who knew him when he was younger).
* Cinepanorama - (6:52)) An excerpt from the TV show "Cinepanorama" from February 20, 1960. The host France Roche interviews Director Francois Truffaut who was awarded for "Best Foreign Film" by the New York Film Critics Circle for "The 400 Blows". Director Truffaut talks about how the films reception Internationally and about the film.
* Theatrical Trailer - (3:47) The original theatrical trailer for "the 400 blows"".
* An essay book from film scholar Annette Insdorf - A quad-fold booklet titled "Close to Home" with production credits on one side and a two page essay by Columbia University, Professor and Director of Undergraduate Film Studies, Annette Insdorf discussing the similarities of Antoine Dionel and Francois Truffaut. But also differences and the importance of some shots.

JUDGMENT CALL

"the 400 blows" is one of those films that surprised me from beginning to end. It's not that I haven't seen classic films that seem realistic but I found the film quite enjoyable in the fact that the film really goes indepth in the life of a Parisian youth who does bad things but that the connection between bad/or lack of thereof, parenting can be to blame.

Jean-Pierre Léaud is simply fantastic as Antoine Doinel and that is because Director Francois Truffaut allows him to be himself. As Jean-Pierre Léaud has commented himself, he is very much like Antoine in some respects and he eventually puts his trust in Truffaut to capture his emotion and his focal point through the camera. If anything, to make this character come out alive and in that sense, Truffaut succeeds and Léaud is magnificent.

Claire Maurier (who plays Antoine's mother Gilberte Doinel) is surprising in her role as a cold mother. She's one of those mothers who has her life hampered with having a child but tries to live her free life as if she didn't have a child. There is a strong disconnection between mother and son but how quickly she tries to change when her son catches her with another man. Claire Maurier does a fine job with her role. As with Albert Remy as Julien Doinel. The busy at work father who has more leeway towards Antoine but is not quick to be cold to his son like his mother. It's just when the trust is broken between father and son, is when you see Julien having to do things that he doesn't want to do and in essence becomes more like his wife.

There is a significant reveal at the end of the film of why Antoine does the things that he does but what the film does quite well at is showing how derelict parents can affect a child's behavior. Letting a child to do what he wants and there are no responsibilities but taking out the garbage. There is no love in the family and thus, it has a cause and effect towards Antoine.

Truffaut is simply a legendary director for helping catapult the French New Wave. With its similarities to Western classic films and Italian Neorealism in terms of really depicting the life of the poor in France, Truffaut gives us a glimpse of what his life was like. How he watched films when he ditched from school and just his overall experiences and troubles he had endured. When he's lying, he is treated badly at home and at school. When he's telling the truth, there is no difference. And for any parent, this is a true injustice for a child who needs that motivation that they can prevail, that they are wanted and they can succeed. And unfortunately, that was not the case for Antoine at 14-years-old.

I give THE CRITERION COLLECTION another applause for their treatment of "the 400 blows". Similar to a film like "THE SEVEN SAMURAI", although once released, the company went back and gave it a new, restored High-Definition digital transfer with an uncompressed monaural soundtrack.

Another awesome release on Blu-ray from THE CRITERION COLLECTION and for those who have never had a taste of French New Wave films, "the 400 blows" is definitely a great film to start out with.

This film is a cinematic masterpiece, in that it's images last a lifetime. The story centers on a 12 year old boy, Antoine, growing up in Paris, and tracks the stages downward as he falls into trouble, some of it humorous,from playing hooky to pinching a bottle of milk along the way. The black and white filming in the streets, at Christmas time in Paris, cast flickering contrasting shadows,as we watch this basically decent normal little fellow being buffeted about by the less than admirable authorities in his world, from the selfish parents to the humorless mean spirited teachers, to the officious pompous police.

We can only be left with the aching feeling that things should never have snowballed downward this way. Antoine is finally sent to a Juvenile Center for "observation" in the countryside, after stealing a typewriter from his father's office and then returning it when he could not hock it. His mother comes for a brief visit and icily informs him that his "father" is through with him, and that he is on his own.

Once again, Antoine finds trouble at the juvenile observatory, and flees to the beach. The final frame of Antoine's frozen gaze back at the viewer on the beach is absolutely haunting. What or whom does he see? And where will he go now ? I have spent my whole life wondering. Film just does not get any better.

I love this movie on so many levels but the the best is truly the elementary level. Maybe, I identify with our main character and his exploits all too well. During the movie I found myself 'musing' with my wife about doing the same kinda stuff when I was a child. I thought it remarkable that these children found so many ways to be conniving and pesky. My smile strectched from ear to ear and at some point I thought that the director must have reflected on personal experience and that he himself was probally a deviant at some point. When the movie closed out with the beach scene I was pleased but somewhat disappointed. I thought the director missed a golden opportunity to use flashback to relate his current adult state to - say, a problem child of his own, thus showing us the circle of life nad though troubled that he wound up OK. All in all a Masterpiece very worthy and deserving of its place in the CRITERION collection.

MOVIE 5
PQ 4
AQ 4
XTRAS 3.5
OVERALL 4.5

This review is for the Blu-Ray edition.

The 400 Blows is directed by Francois Truffaut. The film stars Jean-Pierre Léaud, Claire Maurier, Albert Rémy, and Guy Decomble.

The 400 Blows is the first major film directed by Francois Truffaut, formerly a film critic known for his brutally-honest reviews. The film, based loosely on Truffaut's childhood, follows the story of Antoine Doinel, a young man in his early teens. His life is a mess - he's frequently getting into trouble in school, his parents fight all the time and are hard on him, he lives in a low-income household, and to make things even worse, discovers that his mother is having an affair with a co-worker. He tries to make ends meet, but nothing seems to work. The film is the story of this young man's struggle in society, and the consequences that befall him.

Truffaut's first major feature film is also his finest. With the film he creates believable characters, and a true-to-life story that anyone who has ever been young will be able to relate to. The movie runs a brisk 100 minutes, and never outstays its welcome. Every second feels authentic.

The characters and the actors who portray them make this film their own. The obvious stand-out actor his a young Jean-Pierre Leaud, who stars as Antoine Doinel. Truffaut created the character has a version of himself at a younger age, which may be the reason that director and actor alike are able to make this character so three-dimensional and be lievable. If you've ever been young, you'll be able to relate to Leaud in this role. Who amongst us hasn't hated a teacher in school, gotten in trouble, and been hollered out by our parents? And unlike other rebellious youngsters of the era captured on film, Antoine doesn't use violence to rebel, or talk back to his superiors. He wants to be free, but he obviously doesn't want to hurt or offend anyone in his life, which makes him all the more a sympathetic, tragic figure who learns the hard way that freedom isn't free.

The 400 Blows won audiences over at Cannes way back in 1959. Half a century later, its message is as strong as ever. A brilliant piece of cinema that manages to be believable throughout its duration, it's no wonder Truffaut became hailed as one of France's finest filmmakers. With this film, he launched the French New Wave and hundreds of imitators. There's no denying it - this is one of the greatest films ever made.

All in all, The 400 Blows looks pretty damn good in 1080p. This isn't a leaps-and-bounds improvement over Criterion's most recent standard-def disc, but there are noticeable improvements, and it definitely looks better on a large HDTV screen than the normal DVD does. The image is clear and detailed throughout (I was able to pick out details I couldn't see on SD and read some text that was unreadable on the original DVD), it definitely looks better than I expected for a film this old. My only complaint is that there are a few scenes in which the grain level tends to spike. However, this is a very minor complaint, and it certainly doesn't detract from enjoyment of the film. This isn't the best-looking black and white film I've seen on Blu (Casablanca still holds that honor), but it's definitely in the upper tier. Dialogue is presented in the original French Mono, and the track has been beautifully remastered and is free of any annoying pops or hisses. Needless to say, English subtitles are included. Criterion knows how to do faithful transfers right for classic films, and this Blu-Ray Disc is proof. Their transfer here has me looking forward to 1080p transfers of other vintage foreign/classic films.

As if the gorgeous transfer wasn't good enough, Criterion has included plenty of bonus material as well .. In addition to the obligatory booklet the company includes with their releases (in this case it contains an essay, well worth reading), there are some interesting featurettes included on this disc. We get to see an interview with Jean-Pierre Leaud about his opinions of the film and acting, a French television program episode on film directors that focuses on Truffaut, as well as two commentaries and rare audition footage. When Criterion releases a movie, they almost always put out the definitive edition. This release of The 400 Blows proves that will be true for their Blu-Ray releases as well.

The 400 Blows is that rare century-old movie whose message is as powerful today as it has ever been. With brilliant direction by Truffaut and a great performance from a young Jean-Pierre Le aud, this is the definitive film from the French New Wave. And once again, Criterion delivers the goods on Blu-Ray. One of the greatest films ever made with a great presentation on blu-ray, The 400 Blows gets my highest recommendation. If you only see one dramatic foreign-language film in your life, this is the one to see.

Just like most French movies, it just ends, there is no ending, not even a wind down. I guess film was expensive back in those days.

I own Criterion's latest DVD release (from 2006) and now the Blu-ray edition of The 400 Blows. For anyone who would like to know about the differences between the two, other than the HD presentation, there are only a few. The extras are the identical, from the commentaries and archival footage to the essay in the booklet. So, in terms of content, the Blu-ray is edition is virtually the same as the latest DVD edition. (This is in contrast to, say, Criterion's Blu-ray of The Last Emperor, which jettisoned the "television version" present in the DVD released just months before.)

Yes, there is a noticeable difference in the quality of the video. The Blu-ray is less muddled and has sharper black-and-white contrasts. I also noticed some intermittent flicks of white in the DVD that have been corrected in the Blu-ray. (I actually feel spoiled by Criterion because I half-expect all of my classic films to be flawless now!) The Blu-ray also touts an uncompressed audio track. I can't say that the Blu-ray is a must-upgrade, but the difference in video quality is definitely there.

In all my movie watching and movie reviewing I tend to praise a lot of work. As you glance over my past reviews (if you so chose to ever do so) you will see a lot of `five-star' or `Grade A' reviews, yet in all honesty there are rarely times when I am so enamored by a film I am moved to claim it a masterpiece. Sure, I may say that a film is a genre masterpiece (I think I made that claim when speaking of `The Dark Knight') but for a film to transcend genre and become a clear and present masterpiece of film it has to have that extra something that is rarely found in films; that extra connective tissue that links its importance, its soul to our soul and thus becomes a part of us.

`Scenes from a Marriage', `8 ½', `4 Months, 3 Weeks and 2 Days'; these are those type of films.

You can add `Les Quatre Cents Coups' (The 400 Blows) to that list. This film is a staggering look at the power of neglect and the affect that it has on those receiving the brunt of its affliction. Francois Truffaut's visionary debut film rests high on my list of cinematic achievements for it captures the very essence of this tragic life and this young boy's desperate search for love, peace and eventual freedom.

The film tells us of young Antoine Doinel. His mother seems almost irritated with his existence and his step-father, as caring as he may seem, is still merely a step-father. His behavior in school seems to mirror his unhappiness at home, for he often finds himself acting out for attention as apposed to sitting quietly and paying attention. Instead of seeking out answers to Antoine's issues, his teacher and his parents only seem concerned with immediate action; discipline. Even Antoine's seemingly earnest attempts at improvement are degraded and slighted and eventually he finds himself in a reform school after a series of serious lapses in good judgment.

What is so moving about `Les Quatre Cents Coups' is the way in which the film is delivered. This is not an abrasive and deeply emotional film, at least not in the obvious sense. It is a rather relaxed and almost passive film, a film that simply states the facts without overly dramatic embellishment. It thus has a lightness that makes the overall impact a little more acceptable. It's not harsh, as it certainly could have been considering the poignant subject, and it has a very easy and fluid pace that makes the film both engaging and moving. When you strip away the Hollywood dramatization you find a raw and realistic approach to filmmaking, which is in full effect here.

When you take a richly realized script, very delicate and focused direction and a superb performance given by an astonishing young actor (in this case Jean-Pierre Leaud, who was merely fourteen when he landed this amazing role) you are left with a brilliant look at the most intimate aspects of life itself.

Yes, `Les Quatre Cents Coups' is a masterpiece.

The Bottom Line:

One of those movies that's every bit as good as everyone says it is, The 400 Blows is a powerful and engaging coming of age story with a wonderful performance by Jean-Pierre Léaud in the lead and the only worthy freeze-frame ending in cinema: go out and rent it.

François Truffaut is one of those enigmatic directors who is not easily definable, but his works are among the best the film industry has ever offered. Along that line, "The 400 Blows" stands up there as one of his best. The woeful tale of Antoine, cast off by his parents and scorned by his teachers, is a remarkable one and the then-young Jean-Pierre Léaud gives a powerful performance as the teenage Parisian caught up in a world not to his liking.

"The 400 Blows" was the first in a series that Truffaut made with Léaud and I look forward to seeing the others. The eerie score is mesmerizing and the scenes shot from curious angles give the film a surreal look, albeit a terrific cinematographical one. I highly recommend "The 400 Blows"...Truffaut has made a masterpiece.

There is a piece of acting in this film that is so sublime, it took my breath away. You'll know the moment when it happens; our hero, Antoine, sits at a table and simply talks. I've come to Truffault late in life (well, at 36 it's late for me) and the wait was worth it. The 400 Blows is gorgeous, haunting, and altogether heartbreaking. I love this film. Oh, and be careful not to dismiss the scene of the PE coach leading his charges through the town as mere style; it speaks volumes about the film's key theme of lonely, disaffected youth.

Generally I am not a very big admirer of Truffaut as a director. His works generally exude that kind of vapid, but not lighthearted fluffiness as if a clinically depressed had written a comedy. But maybe he was really just trying too hard in his later films to please his audience. In this, his first full-length motion picture, the humor is warm, the pace is brisk, and despite numerous obstacles, there is a very real sense that -- like its hero -- the director always knows where he wants to go next. It is a far cry from the aimless meandering in "Jules and Jim" and later films. (I happen to like some films that seem to have no aim or plot, it is just that Truffaut's or Fellini's works in that category are not good examples of how to do this successfully.)

It is said that everyone can write at least one pretty good book, namely one's autobiography. And maybe that was true of Truffaut also, the one-hit-wonder who might have preferred going back to being a movie critic after finishing his first -- and best -- movie.

Inspired by Orson Welles' Touch of Evil (Restored to Orson Welles' Vision), François Truffaut's (1932-1984) film debut, The 400 Blows (1959) was a turning point for French and world cinema. Challenging traditional Hollywood cinema, it marked the beginning of the radical French New Wave Movement. Truffaut won the Best Director award from the The 1959 Cannes Film Festival, the same festival that banned him the previous year. It follows Antoine Doinel (Jean-Pierre Léaud ) through his adolescent misadventures in Paris. Born to an unwed mother into an unhappy home life, Antoine is perceived to be a trouble maker at school. (The film's French title refers to "faire les quatre cents coups," which means "to raise hell.") Poorly dressed and poorly fed, Antoine is also considered an unwanted burden by his indifferent mother and step-father, who eagerly surrender him first to a detention center, and then to a reform school, transorming the film into an exposé of the injustices of the treatment of juvenile offenders in France at the time. Antoine eventually escapes his work camp and runs towards the sea. Truffaut creates film history by ending his film with an unforgettable freeze-frame of Antoine on a beach with his feet in the surf, looking back to the shore, with no place left to run. Antoine has never experienced the sea before.

Léaud and Truffaut continued "The Antoine Doinel Cycle" with four other films depicting Antoine at later stages of his life: Antoine and Colette; Stolen Kisses; Bed and Board; and Love on the Run. Criterion has collected The 400 Blows with these later films in a highly-recommended collection, Francois Truffaut's Adventures of Antoine Doinel (The 400 Blows / Antoine & Collette / Stolen Kisses / Bed & Board / Love on the Run) - Criterion Collection.

Funny yet heartbreaking, playful yet melancholy, Truffaut's 400 Blows is among my all-time film favorites. This first-rate Criterion edition offers a crisp digital transfer with a clear soundtrack, screen tests, as well as an anecdotal commentary on Truffaut.

G. Merritt

The first thing I noticed with this debut film by the great Francois Truffaut is that it is shot in wide-screen format. I later learned this was the first to be presented in that way, which immediately established the twenty-eight-year-old man amongst the greatest directors.
I have some difficulty grasping the title, 400 Blows. But I guess it is a French idiom for "hell raiser". The story launched a series of films about this boy, Antoine Doinel. This character is recognized as Truffaut's on-screen alter ego.
I think it is rare to see a more compelling, in-depth look at adolescence. Other movies might showcase some horrible childhood acts simply for shock value, but that's not the case here. This story moves along smoothly, with such a genuine feel.
The look at Antoine's home life will probably invoke some sympathy. He's almost treated as an afterthought by his mother. These neglected feelings might be the reason why he frequently tells lies. He also recieves harsh criticism from his school teacher, which can't help his self-esteem. He eventually turns to a life of petty crime.
In one scene, he needs an excuse for his absence after ditching school. He tells the teacher, in a solemn voice, "I'm sorry sir, my mother died".
You get the feeling that sometimes he might actually wish that.
At such a young age, Antoine is forced to do some soul searching and find his place in the world. It is a journey worth catching.

THE FOUR HUNDRED BLOWS is French director Francois Truffaut's first full length film and his first film of the cinematic movement known as the New Wave. It's a far more complex film than its simple plot would suggest which is why the film has such a powerful impact. Twelve year old Antoine seems to be a typical of a boy his age, but finds himself getting into trouble. We assume it will be mischief, but learn he has no real anchors to keep the mischief from getting more serious. His home life is unstable though from the outside it would appear he has doting and dedicated parents. There are also his teachers who seem to notice his infractions but none seem to get close enough to reach him. It is only later in the film where we realize the effects of the negligence and hurt on Antoine. Though the film concludes, we do not feel that the story is over. We want to know what happens to Antoine. Fortunately there are four other films with the character of Antoine Doinel all performed by Jean-Pierre Leaud so the viewer can once again become immersed in the ups and downs of Antoine's life.

The film was critically acclaimed when it was shown at Cannes and Truffaut won awards for his direction and an award for best Catholic film (though the film is not based on a religious theme nor doe sit have specific Catholic references). We get a sense that something new is happening in this film, and we see the genius that will later be associated with Truffaut. The film is set in Paris and throughout we get a glimpse of typical Parisian life. The background music is somewhat basic with a 1950's Jazz like feel, but it is used effectively. Its' remorseful when the situation calls for it, but it is light and airy when Antoine is experiencing the adventures of childhood. The acting is superb, particularly Jean Pierre Leaud as Antoine and Patrick Aufay as his friend Rene. Other members of the cast include Albert Remy and Claire Maurier as Antoine's patents and Guy Ducomble as one of film's most uninspired teachers.

I finally figured out how to manipulate the remote and menu to get the film to play without the commentary. Very good after you master this. I would now rate it as a 5.
Mark Wagstaff

Francois Truffaut's mastery of the Parisian backdrop is one of his most appealing qualities and also one of the talents that helped him become such a cornerstone of French cinema. From the opening shots of 'Les Quatres-Cent Coups' (The Four-Hundred Blows), we are shown some of the sights and sounds of this historic city, that forms the colourful backdrop to the dubious adventures of Antoine Doinel.

It is said that this film is heavily autobiographical and that the child actor Jean-Pierre Leaud was chosen because of his physical resemblance to Truffaut as a child. This is unsurprising given the sympathetic and almost paternal way in which Truffaut treats his protagonist. He is what many of the adults around him would see as a troublesome little brat. However in reality he is just a child who feels alienated from his surroundings. With a lack of love and attention both at home and at school, he feels a longing to escape to something else, even at this young age.

It is testament to Truffaut's ability as a film maker that he is able to portray the existence of a troubled child, without the slightest hint of condescension or stereotype. This would also further the ideas of the films autobiographical underpinnings. Truffaut presents Antoine's youthful curiosity as something to be cherished and not repressed by anyone, be they parents teachers or his military academy.

This encapsulating film of the childhood of Antoine Doinel is one of the most beautifully shot in the history of French cinema and indicates the arrival of one of Europe's most talented and important directors.

A simple ploy: a boy is mistreated by its parents, then he misbehaves until he ends up in a juvenile facility. Behind that, the gray life of a little family trying to survive in the Paris of the 50s.

The child is lovely and the camera tries to view the world from his position of powerless, but Truffaut does not completely indulge him: he is surrounded by a narcissistic mother, a helpless father, an incompetent and authoritarian teacher and agressive schoolmates, yet it is himself who - somewhat freely - chooses petty crime and ends up behind bars.

Seen as a (fiction) documentary of a boy living in a poor french urban household during the 50s, being parented by people too busy working to take care of him and the potential consequences of that, it is very good. But as a pure movie the feelings it produces are inconclusive: sometimes you understand the boy but at the end you make him responsible for his own actions, his family environment is unhealthy but his parents, in their own way, can do little to change it. Characters are morally grey, as the screen.

It makes a lot of sense to watch the whole serie of Antoine Doinel's adventures: you will discover that the boy does not end up so bad after all.

A truly wonderful movie about a 12-year-old boy who feels unloved and unwanted by his parents, misunderstood at school - a cog with no wheel to fit into. In trouble all the time, more by circumstance than anything else, he runs away from home, gets caught "stealing" (actually returning) a typewriter, and is sent to reform school. His one desire is to see the ocean, and he escapes reform school and gets his wish at movie's end.

The camera work is excellent and seems to be everywhere - high overhead, close up, always on the move like the boy. There are many humorous scenes, especially in the school in Paris: Truffaut knows the minds of 12-year olds perfectly. There are some great ironic scenes, too: the "warden's" children being locked in a cage when the reform school boys have free use of the yard. Truffaut's first movie release, and a leading example of the French New Wave; a funny/sad viewing experience. A great movie.

"The 400 Blows" is the famous 1959 film by New Wave director, Francois Truffaut. (The title is a French expression meaning "to raise 'heck'.") Filmed in black and white, with very simple music and the raw look of a low-budget documentary, it is a glimpse into the life of troubled adolescent. Antoine Doinel is poor, has cold and indifferent parents and teachers, and spends his days cutting school and getting into trouble. When his parents give up on him, he is sent to a juvenile detention facility that resembles a jail.

The cinema verite style of unsentimental photography and gritty locales manages to make even Paris look tawdry, almost ugly, because that's how Antoine views his life. Growing up neglected and misunderstood has made him a streetwise child who dreams of escape. The stark and sudden ending allows the viewer to decide what might happen to Antoine next (although Truffaut found the character so intriguing, he made three more movies about Antoine as he grows older).

Jean-Pierre Leaud (Antoine) heads an excellent cast of actors who manage to look like they're not acting at all; rather that a camera just happened to intrude on their lives. The movie is in French with English subtitles. If you are a fan of New Wave films, you are sure to enjoy "The 400 Blows."

Kona

Some films are considered great because someone somewhere along the line said they were, despite the fact that they're not. I have a lot more respect for the reviews on this site that had something original and iconoclastic to say about the film. I don't respect the reviews that line up to say how wonderful this film is, because it isn't.

There isn't any intensity in this movie. It's about a boy who is a liar and a thief. His mother is worse than he is, a tramp, utterly self centered, with no love either for her husband or her son. I think there is more of a story here about the mother than about the wandering son. I think a movie about the worthless bag of garbage that is Antoine's mother would be much more interesting than this film is. Unfortunately she is a minor character and we only get to watch her son play hookie and get into trouble. The boy runs away, and the mother is happy about that and doesn't want him back.

Whatever original ideas have been attributed to Truffaut from the 400 Blows don't change the fact that this movie doesn't really get into it. It leaves us less than half satisfied. It's like going out to eat and only having the lettuce and tomato salad.

It's somewhat interesting to watch the French boys doing whatever they're doing, but this is not a great film. I won't apologize to all the artsy fartsy people who worship it.

I'm not a hater of French films. I like The Discreet Charm of the Bourgeouisie (or however that damn word is spelled) and Children of Paradise. They are both far superior to this one. This one drifts along with Antoine, and I would hope for more.

This is a tough movie to evaluate. The fact that it leaves you with an uneasy feeling it a testament to its' power. The fact that the film leaves no obvious answer to the issues it raises again can be a testament to the depth of its' analysis of the problem. Yet I came away somewhat disappointed not because there weren't any heroes but because I had difficulty relating to the victims.

This is the story of a young lad who just doesn't fit in. His home life is without love although his step-father is more attentive than his mother. His school is one of those autocratic institutions that has no heart or patience. No one seems to care. Where is love? Is it the ultimate sacrifice of our urbanized, industrialized, society?

Francois Truffaut's first film shows an immense talent and an inclination to make a social statement with his film. The problem for me is that the boy in question is spared any responsibility for his actions by the direction that the film leads us. His is a flawed character and blaming the flaws on his environment struck me as a shallow escape from personal responsibility. I felt sympathy for him but exasperation as well as he seemed to lead himself astray.

Part of the problem I had with "The 400 Blows" was that I saw it the same weekend that I saw "Salaam Bombay" and "Amarcord". In the case of "Amarcord" the same deliquencies that happened in school were cause for laughter while in "The 400 Blows" they were cause for dismay. More telling, however, was the youth of the same age in "Salaam Bombay" who faced far greater challenges with far less help available and far more honor, self-respect and self-determination. I guess I was looking for as much out of Paris as I got out of Bombay. Both movies made a point that abandoned youth was a crisis in our midst. The fact that one made the message more effectively kept me from rating "The 400 Blows" higher than I did.

Often one wonders whether film is nessicary, whether one can tell a better and more absorbing story through writing.

400 Blows is the film for me that shows just how absorbant a film can be, just how a film can take the viewer inside a world and feel more real than a book.

This film is still as fresh and revolutionary and sad as it was when it premiered at Cannes in the 60's and changed the world of cinema forever.