Truffault's masterpiece. Timeless and true, heartbreakingly sad.
The 400 Blows (1959)
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Reviews Counted:48
Fresh:48
Rotten:0
Average Rating:9.3/10
Consensus: A seminal French New Wave film that offers an honest, sympathetic, and wholly heartbreaking observation of adolescence without trite nostalgia.
Runtime: 1 hr 39 mins
Genre: Foreign Films
Synopsis: Director François Truffaut's first feature film, THE 400 BLOWS, is a landmark in French cinema. Antoine Doinel (Jean-Pierre Léaud) is a 13-year-old boy who can't seem to do anything right. His... Director François Truffaut's first feature film, THE 400 BLOWS, is a landmark in French cinema. Antoine Doinel (Jean-Pierre Léaud) is a 13-year-old boy who can't seem to do anything right. His parents yell at him and then bribe him for his love and his promises to work harder in school. Meanwhile, his schoolteacher is out to get him and blames Antoine for everything--turning him into the class clown. As a result, Antoine runs away from school and his difficult family, living on the streets of Paris and committing petty crimes. While his life on the street is tough, it's much better than dealing with his preoccupied parents and his accusatory teacher. Nonetheless, things only go downhill for Antoine, descending to a simultaneously painful and beautiful conclusion. A truly impressive film, THE 400 BLOWS is raw, honest, and intensely emotional. Imbued with a strong and complex personality, Antoine maintains his poise and self-confidence, even as he endures abusive treatment from every adult he encounters. René Simonet (Patrick Auffray) is Antoine's one pal, and the unspoken dialogues between the boys, depicted by Truffaut through the boys' facial expressions and with masterful roving photography, allow the viewer to see through Antoine's eyes and understand his unflinching tenacity. Few films have captured the difficulties of childhood as well as this acclaimed French masterpiece. Essentially the start of the French New Wave movement, THE 400 BLOWS is also the beginning of Truffaut's Antoine Doinel cycle, which follows Léaud as Antoine in five additional films over the course of 20 years. [More]
Starring: Jean-Pierre Léaud, Claire Maurier, Albert Rémy, Guy Decomble
Starring: Jean-Pierre Léaud, Claire Maurier, Albert Rémy, Guy Decomble, Patrick Auffray
Director: Francois Truffaut
Director: Francois Truffaut
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Reviews for The 400 Blows
François Truffaut's iconoclastic feature debut and one of the most enduring examples of the French New Wave.
What is there to say about The 400 Blows that hasn't already been said?
It's a cornerstone of the French New Wave, and one of the greatest movies about childhood, from anywhere, ever.
Henri Decae’s black and white photography helped Truffaut enormously but what the director himself provides is a sense that though there is no easy answer to the problems of growing up, there is a hope that will never be wholly denied.
Distinguished by its naturalistic, quasi-documentary approach and an extraordinary central performance from the 12-year-old Jean-Pierre Léaud, this is a blisteringly authentic story.
It's streetwise stuff, shot in a vigorous on-the-hoof style, but also full of joy, both in its blissfully comic moments and in Doinel's telling passion for moviegoing.
The 400 Blows, one of the initiating sparks of the French New Wave, ultimately boils down to the film's trendsetting coda, perhaps the most exclamatory question mark in movies.
An enduring masterpiece...Truffaut's autobiographical fiction shows an admirable equanimity by depicting the highs and lows of boyhood. [Blu-ray]
This should be required viewing for today’s droves of would-be memoirsts in film or any other medium, and otherwise is simply a must for anybody who likes great movies.
Francois Truffaut's debut film not only galvanized the Nouvelle Vague (New Wave) movement of French cinema, but also generated a personal language of cinema that Truffaut would elaborate on for the rest of his career.
Forget my curmudgeonly attitude and see it -- again, or for the first time -- for yourself.
Distinguished by its intensity of feeling and freewheeling use of the wide-screen frame, the film ranks among Truffaut's best.
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