Les Quatre Cents Coups (1959; The 400 Blows), a semiautobiographical study of a working-class delinquent. This movement was defined by a variety of new stylistic choices such as a focus on character rather than plot, long shots, more true-to … The narrative of The 400 Blows condenses events drawn from several years of Truffaut’s own childhood into what appear to be a few weeks or months in the life of Antoine Doinel. Cooper, James ed. The origins of the movement lay with the group of young film enthusiasts writing for Cahier du cinéma, the magazine co-founded by theorist Andre Bazin; Bazin became a father figure for Truffaut who dedicated his first feature film, The 400 Blows (1959), to his late mentor’s memory. The adult world as seen through his eyes is cold and phoney. It was he who provided the backing for The 400 Blows through Truffaut’s own production company Films du Carrosse. We are unable to assist students with other academic subjects. In other words, the plot presents story events that leave us uncertain as to the nature of the final consequences (74). Much like Truffaut, Antoine (Jean-Pierre Léaud) struggles in school, grapples with his parents, and has a trusted best friend. Mr. Doinel decides to turn him in to the police, and have him sent off to a state home for children. Cast: Jean-Pierre Léaud (Antoine Doinel), Patrick Auffay (René), Claire Maurier (Gilberte Doinel – Antoine’s mother), Albert Rémy (Julien Doinel – Antoine’s father), Guy Decomble (‘Petite Feuille’ – The French teacher).]. The Cahier critics identified such film-makers via their own excited responses to that personal vision producing an eclectic list of approved auteurs, as evidenced by the range of work Truffaut chose to highlight in his book, from the more obvious John Ford, Mizoguchi or Bergman, to the idiosyncratic with Mervyn LeRoy or Anatole Litvak. From Gavin Breeden, Charlotte, NC: When I think of great opening shots, my mind quickly goes to Francios Truffaut's 1959 masterpiece, "Les Quatre Cents Coups" (aka "The 400 Blows"). The latter was produced by Ciné Tamaris who were able to cut costs by acting as a co-operative, a model adopted by the New Wave directors who often pooled their talents to reduce overheads and improve the chance of obtaining funding. Antoine goes to Mr. Doinel's office after hours and steals his typewriter to sell. As the story progresses, Antoine finds himself in escalating trouble. It is the first of the Antoine Doinel series, tracing its hero’s evolution from an antisocial anguish to a happy and settled domesticity. The Routledge Encyclopedia of Films, Edited by Sarah Barrow, Sabine Haenni and John White, first published in 2015. Michel Marie charts this development back to Jean-Pierre Melville’s Silence of the Sun (1947) and Agnes Varda’s La Pointe Courte (1954) (Marie 2003: 48–52). Francois Truffaut’s The 400 Blows (1959) and Jean-Luc Godard’s Breathless (1960) are two films, which despite major disparities, would go on to exemplify integral characteristics of the movement in the following years. Not all of the scenes in 400 Blows were a revelation to me. O ne of the initiating sparks of the French New Wave, The 400 Blows ultimately boils down to the film’s trendsetting coda, perhaps the most exclamatory question mark in movies. "The 400 Blows Summary". It was logical enough for the group to move from polemics to film-making themselves, even if the means was not always easy to secure. The 400 Blows may lack the sheer professionalism and technical polish of many of the films that came before it. To develop these anecdotal moments into a coherent whole Truffaut worked with the novelist and screenwriter Marcel Moussy. Tellingly, the original French title, Les quatre cent coups, translates more accurately as ‘raising hell’, indicating defiance rather than the melancholy of The 400 Blows. (Only Kiss Me Deadly, which similarly ends in the surf, and L’Eclisse come to mind as potential rivals.) Specifically, you discuss character of Antoine and how various factors, in particular his home life, shape his fate at the end of the film. After putting a candle in the shrine, however, he starts a small fire that almost burns the house down. One of these episodes, ‘La Fugue d’Antoine (Antoine’s Flight)’, was based directly on an incident in Truffaut’s youth when he had tried to cover his truancy by telling his school teachers that his mother had died, resulting in his father slapping his face in front of the class. The 400 Blows (French: Les Quatre Cents Coups) is a 1959 French New Wave drama film, and the directorial debut of François Truffaut. His mother is especially hard on him, and his father—who is actually his stepfather—shows him inconsistent affection. At home, Antoine takes money hidden in the mantle, sets the table for dinner, gets flour from the store for his mother and takes out the garbage. After they cannot sell the typewriter, Antoine brings it back to the office, but is caught by a guard while putting it back. Selective use of close-up brings us near to Antoine at moments of emotion, while the subtle mise en scène frequently reminds of the degree to which he is imprisoned, with recurring motifs of bars or lattices in front of his face. Out in the streets, he sees his mother with another man and spends a night scavenging for food and a bed. Nonetheless, many scenes and details in the film belong specifically to Truffaut’s own memories, including his stay at the Villejuif Observation Centre for Minors and the fact that, like the film’s protagonist, Truffaut was born out of wedlock, passed around various family members including his grandmother, and then adopted by his mother’s new husband. When it won the best direction prize at … Even out in the open, Antoine is hemmed in by sea and sky. When Antoine's mother arrives late that night, she and Mr. Doinel get into a contentious argument. Without any way to make money, the two boys resort to stealing. As the students take a test, they pass around a picture of a pin-up model. Truffaut’s approach is ideology because the themes and concerns revolve around a delinquent child, his family and his school. Truffaut’s own path into features lay courtesy of more providential funding: his father-in-law, Ignace Morgenstern, being a leading film distributor. The film looks superb and Antoine's heartbreakingly open face is like Truffaut's monochrome Paris: beautiful, tough, innocent and yet worldly The 400 Blows (Les quatre cents coups) a classic 1959 french New Wave film directed by François Truffaut. I'm sorry, the movie, The 400 Blows, doesn't contain any of the characters you've listed in your post. Originally published as François Truffaut (1996). His parents have little money and he sleeps on a couch that's been pushed into the kitchen. He also visits the cinema, a funfair, and a children’s puppet show. The young directors quickly realised that low budgets were the path to freedom of expression. His parents bicker constantly and he knows his mother is having an affair. François Truffaut’s first feature is also his most personal. Posted on April 30, 2015 by Agota Vera. THE 400 BLOWS is considered a classic in portraying a pained and turbulent male adolescence. The 400 Blows, with child-like elegance, expresses the gentle yet callused nature of the writer/director through the use of authentic storytelling, superb casting, innovative production, and the effective molding of all of these traits to make one, powerful masterpiece. Mrs. Doinel meets with the judge, and she is willing to let her son be taken to a juvenile observation center. Summary: The narrative of The 400 Blows condenses events drawn from several years of Truffaut’s own childhood into what appear to be a few weeks or months in the life of Antoine Doinel. At home later that night, Antoine and his father cook dinner together as Mrs. Doinel is working late. The release of a new edition of the film on Janus Film’s “Essential Art House” series, however, reminds us that The 400 Blows is more than an example of a … His dad slaps him in front of his class, and Antoine decides to never return home again. [Country: France. Show More. At school, Antoine is bored and inattentive, and frequently finds himself in trouble. Francois Truffaut, director of the film The 400 Blows (1959), concerns himself with the delinquent child abandoned by the education system and even the family. That lies more than he tells the truth because why tell the truth when no one believes him. These papers were written primarily by students and provide critical analysis of The 400 Blows directed by Francois Truffaut. the 400 blows – analysis of camera movements 1. Antoine Doinel (Jean-Pierre Leaud) is a trouble-prone 12-year-old Paris schoolboy, often left unsupervised while both his mother and his stepfather work at separate jobs. After watching it, I was particularly fond of the film’s overall plot. An abortive attempt to raise funds by stealing a typewriter from his father’s office ends with Antoine’s arrest and removal to an ‘observation centre’, as well as to his parents virtually disowning him. “The 400 Blows” Analysis 1 Reply Francois Truffaut’s “The 400 Blows” is a captivating glimpse at a young French boy’s life. Cinematographer: Henri Decaë. Reacting against the ‘quality’ tradition of safe, studio-bound productions which dominated French cinema in the 1950s (critiqued by Truffaut in his article ‘Une certaine tendance du cinema Français’), and inspired by Alexandre Astruc’s call for cinema to have an equal artistic status with more established forms such as the novel, the Cahiers critics championed films which reflected the individual vision of their maker, assumed to be the director. When his grandmother died, he returned home at the age of eight. The film was shot on location around parts of Paris which Truffaut had frequented as a boy, even down to the cinemas he used to play truant to from school: ‘I saw my first two hundred films on the sly, playing hooky and slipping into the movie house without paying’ (Truffaut 1980: 3). The only warmth he experiences is from his friend René who, with characteristic irony, is not permitted to visit him in the reformatory while his mother is allowed in, if only to reject him. Director: François Truffaut. Written by Truffaut and Marcel Moussy, the film is about Antoine Doinel, a misunderstood adolescent in Paris who struggles with his parents and teachers due to his reb… Michel Marie, The French New Wave: An Artistic School, Oxford: Blackwell, 2003. It was his grandmother who stopped her from doing it. The films is also filled with cameo appearances from Truffaut’s friends in the New Wave, from fellow directors Philippe de Broca and Jacques Demy, to the actors Jean-Claude Brialy and Jeanne Moreau, and even Truffaut himself who can be seen briefly in the funfair sequence. On his way, he runs into his best friend, René, and the two boys decide to skip school. Phil Powrie and Keith Reader, French Cinema: A Student’s Guide, London and New York: Bloomsbury, 2011. René and Antoine steal a bit of cash from René's mother’s stash to go to the movies, and they wind up smoking cigars and drinking wine in his bedroom. His mother only becomes interested in him when there is a threat that he might tell her husband about her affair. At home we see Antoine taking out the rubbish or laying the table. More than 50 years on from the critical bloodbath that launched the nouvelle vague, it should be possible to watch films by both Truffaut and Delannoy, and to assess both on their own merits. The 400 Blows (Les Quatre Cents Coups) or its literal translation: “Raising Hell”—is the simple semi-autobiographical tale of Truffaut mirrored by the actions of Antoine. Although several years’ older than the film’s protagonist, I remember watching the floor literally drop out from under Antoine on a carnival ride and feeling the same pressure against my chest in a dorm room … English translation by Richard Neupert. When Mrs. Doinel next visits her son, she says that she is giving up custody of him once and for all. I'm sorry, this is a short answer literature forum designed for text specific questions. As the students take a test, they pass around a picture of a pin-up model. This is a world where young and old are utterly at odds. As she puts him to bed, Antoine's mother makes a deal with him that if he is in the top 5 for his next essay, she will give him 1,000 francs. The 400 Blows (1959), François Truffaut (Screening on Wednesday, 7 – 9 pm, Rocky/Mathey Theater) Among the ranks of “French Movies You Say You’ve Seen but Haven’t,” one of Princeton Film Society’s series this semester, François Truffaut’s 1959 drama The 400 Blows (Les Quatre Cents Coups) is one of the most prototypical.For someone looking to explore the French New Wave for … For the sequences at home and at school the camera is often static or tracks slowly back and forth across the confined space, while in the streets, and especially during Antoine’s concluding run towards freedom, the camera is either highly mobile or is set in extreme wide shot or at a high angle emphasising the space around Antoine. Suspended from class for the rest of the term, Antoine decides that he really cannot go back to his parents' house now, so René offers him a vacant room in his own parents' house. The 400 Blows Film Analysis 1338 Words | 6 Pages. Show More. After a brief period of peace at home, Antoine and René are suspended from school and Antoine takes to living surreptitiously in René’s house (his parents are even more neglectful than Antoine’s but have more money). Increasing criticism of policies pursued by the Centre National de la Cinématographie (CNC) led to a change in strategy with financial subsidies directed away from mainstream, large-scale productions towards cheaply made independents such as Claude Chabrol’s debut, Le beau Serge (1958), often credited as the real beginning of the New Wave. The next day, Mrs. Doinel picks Antoine up from school. On their day of hooky, Antoine and René go to the movies and play games, and at the end of the day Antoine spots his mother kissing another man, and she sees him. He is beaten at home, at school, and at the reformatory to which he is sent. It was no secret that the protagonist character of Antoine Doinel, as played in total of five films by Jean-Pierre Leaud , grew from Truffaut's own childhood. Francois Truffaut's "400 Blows" -- An Analysis Truffaut's movies are like a life-long diary and his first feature is one from the heart, notable for its highly autobiographical nature. In a manner typical of much early New Wave cinema, and of virtually all Truffaut’s work, the film is constructed as a series of self-contained vignettes. The fact that there was still a typewriter fulfilled its basic duty of helping to establish the period the film was taking place in. resource to ask questions, find answers, and discuss the novel. Producer: François Truffaut. They do not talk about it. As a French New Wave director, Truffaut’s motive is to represent the real-life drama of an iconoclastic protagonist who searches for love and meaning to his life. A final break for freedom leads to one of the most memorable and heartstopping final shots in all cinema. Inspired by Truffaut's own early life, it shows a resourceful boy growing up in Paris and apparently dashing headlong into a life of crime. The French Film The 400 blows, directed by Francois Truffaut, mainly talks about a boy that lives with a family that does not want him. An ending can be relatively "open" as our example from The 400 Blows suggests. This movie gives a searing critique against the home, educational and penal institutions. It was the first film in François Truffaut ’s acclaimed Antoine Doinel series, which followed a character widely considered to be the director’s alter ego. English translation by Leonard Mayhew. The 400 Blows (Les quatre cents coups) a classic 1959 french New Wave film directed by François Truffaut. Originally published as La Nouvelle Vague: Une école artistique (1997). Seemingly in constant trouble at school, 14-year-old Antoine Doinel returns at the end of every day to a drab, unhappy home life. The 400 Blows certainly fits with this theory, and it paved the way for other directors to make similarly personal movies. After making the deal, Antoine becomes obsessed with Balzac, and is inspired by the writer for his next essay. The seeds of The 400 Blows lay in Truffaut’s earlier short film, Les mistons/The Mischief-Makers (1957), which had drawn on memories of his own childhood. Interrogation with the Therapist Scene. With Jean-Pierre Léaud, Albert Rémy, Claire Maurier, Guy Decomble. Realising this, he turns accusingly to face us. Born in Paris in 1932, he spent his first years with a wet nurse and then his grandmother, as his parents had little to do with him. The 400 Blows Film Analysis 1338 Words | 6 Pages. He sends a note to his parents outlining that he has run away and sleeps in a printing plant that René shows him that night. Antoine de Baecque and Serge Toubiana, Truffaut: A Biography, Berkeley and Los Angeles: University of California Press, 2000. The fact that there was still a typewriter fulfilled its basic duty of helping to establish the period the film was taking place in. François Truffaut, The Films in my Life, London: Allen Lane, 1980. As in Dickens’ novels, the maltreatment of children is seen as symptomatic of a rotten society. Anne Gillain, ‘The script of delinquency: François Truffaut’s Les 400 coups (1959)’ in Susan Hayward and Ginette Vincendeau (eds), French Film: Texts and Contexts, Oxford and New York: Routledge, 2000, pp. One major prop that is used in “The 400 Blows” is the typewriter than Antoine steals from his father’s place and tries to sell. Directed by François Truffaut. All of this turns into a plan to get money so that they can live the life they hope for, free from their parents' watchful gaze. 849 Words 4 Pages. The lie works, until his parents arrive at school. His parents don’t set the alarm the next morning, so Antoine is late for school. Antoine, however, must stay in the corner and clean his poem off the wall. Production Company: Les Films du Carrosse and Sédif Productions. In the end, there is no escape. The 400 Blows (whose French title comes from the idiom, faire les quatre cents coups —“to raise hell”) is rooted in Truffaut’s childhood. As Robert Benayoun wrote in 1962: “The Nouvelle Vague is a school of critics who dare each other actually to try their hand at film-making. Along with Truffaut, the group included Jean-Luc Godard, Jacques Rivette, Claude Chabrol and Eric Rohmer, all of whom would move from film criticism to directing. The 400 Blows Film Analysis. Told from the point of view of Truffaut’s cinematic counterpart, Antoine Doinel (Jean-Pierre Léaud), The 400 Blows (Les quatre cents coups) sensitively re-creates the trials of Truffaut’s own childhood, unsentimentally portraying aloof parents, oppressive teachers, and petty crime. In ways that have been well-rehearsed in Truffaut scholarship, an idealization of movie-going prevails within his oeuvre; yet teaching The 400 Blows reminds me of how the space of the film classroom might also be engaged as a site of idealization.The 400 Blows—a film about (the transgression of) structures, limits, rules, and norms—gives rise to an invigorated film classroom. The French Film The 400 blows, directed by Francois Truffaut, mainly talks about a boy that lives with a family that does not want him. The 400 Blows is first-person cinema par excellence. The film’s impressive box office performance, along with a positive critical reception, was followed by similar responses to Chabrol’s The Cousins (1959) and Godard’s Breathless (1960). The film’s power derives as much from its technique as its narrative. It was no secret that the protagonist character of Antoine Doinel, as played in total of five films by Jean-Pierre Leaud , grew from Truffaut's own childhood. This film analysis will delineate the diverse directorial decisions of The French New Wave cinema movement, and how they have been utilised and developed to challenge and subvert the typical Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in François Truffaut’s The 400 Blows (1959). Copyright © 1999 - 2021 GradeSaver LLC. Les Quatre Cents Coups (400 Blows). One of Antoine’s friends at school is even called Chabrol. Music: Jean Constantin. This story eventually formed one of the key sequences in The 400 Blows, with the film itself growing out of an accumulation of childhood stories, some of them Truffaut’s own and others drawn from friends and collaborators, which became the tale of a single character, Antoine Doinel (JeanPierre Léaud). He sits at his mother’s dressing table, his face caught in a profusion of mirrors. After setting his camera in search of the Eiffel Tower through the opening credits, Truffaut sets us down inside a classroom. One major prop that is used in “The 400 Blows” is the typewriter than Antoine steals from his father’s place and tries to sell. What are the superiority of MicroRNA Sponge Service? From this he began to develop ideas for a screenplay which would use a number of interlocking stories on the subject of childhood (Baecque and Toubiana 2000: 126–7). The 400 Blows essays are academic essays for citation. His one escape is out into the streets, cafés, fairgrounds, and cinemas of Paris; despite the seemingly constant rain, the film is a love letter to the city, right from the opening montage of tracking shots down avenues that take us closer and closer to the Eiffel Tower. He seems to be used as a skivvy by his parents and there is little warmth or joy or their relationship. When he hands in his paper, Antoine expects to get high marks, but his composition instructor gives him an F. It turns out that Antoine just plagiarized Balzac and passed it off as his own work. LES QUATRE CENTS COUPS (The 400 Blows) - Francois Truffaut - Antoine Doinel (Jean-Pierre Leaud) is a 13-year-old boy who keeps getting into trouble at school. This film analysis will delineate the diverse directorial decisions of The French New Wave cinema movement, and how they have been utilised and developed to challenge and subvert the typical Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in François Truffaut’s The 400 Blows (1959). The Historicism Theory. Together these films announced the arrival of the New Wave (Marie 2003: 66). So closely did Truffaut identify with his alter ego that he subsequently brought him back to the screen on four further occasions, with Léaud aging each time in parallel to the director. The prevailing approach to The 400 Blows is an ideology in which the underlying principle is Hollywood hegemony. Mr. Doinel scolds him, but his mother comes to his defense, and suggests that they should be less hard on him, and should all go to the movies. 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