Os Incompreendidos

Antoine Doinel is distracted when at school, he finds it hard to concentrate, teacher thinks that he's a fool, when at home his parents argue, at wits end to know what to do, so the cycle is repeated, as he's trapped in a whirlpool.

It's not an uncommon tale of a misunderstood boy, but at the time it broke the mould and introduced us to things we take for granted today in the world of cinema, as we follow the trials and tribulations of an uncouth youth, who navigates his way to a detention centre via truant, theft and desertion. Wonderfully performed by Jean-Pierre Léaud, it may leave you contemplating paths accepted or rejected during your own formative years, and the implications of the choices you made, assuming you had any.

Truffaut has worked wonders here, creating a masterful tale of a boy confused, troubled, and unloved. Antoine Doinel (played superbly by Jean-Pierre Léaud in the lead role) has strict, unfaithful parents, and a harsh, oppressive teacher, and falls into delinquency because of his unhappiness. He lies, steals, skips school and runs away from home, and soon ends up in a juvenile delinquency centre.

Truffaut's inspiration for this film came from his own depressed childhood, so he bases Antoine on himself, including in terms of appearance. Being a 'New Wave' (a cinematographic movement of the sixties, involving directors who believed Hollywood films were too lavish and unreal) director, Truffaut always used a real location for the film, including breathtaking shots of Truffaut's native Paris. He also made a cameo in the film in the style of Hitchcock.

Delinquance is the key theme here. Antoine, who is a character who believes in liberty and freedom, and the way he is always locked up is repressive for him, and this provokes a constant need for him to be out.

Trying to make a realistic and moving film was Truffaut's aim, which, by watching this film, I realised that he had done amazingly well. Also, by combining humour and drama too, we have the defining French film of the 20th century. A black and white film that is full of colour. Bien sur, François Truffaut.

Every day life, however 'real' and gritty it may be, is rarely portrayed on film and was certainly a rarity in the 1950's. In Europe however, there was a movement in film-making that embraced this realism and searched for the deeper meaning in the 'here and now'. This is about the most basic and miniscule portion of the meaning behind the French New Wave of the 1950's – films that explored the filmmaker's surroundings, and eventually became an inspiration for filmmakers around the world. Francois Truffaut's 'The 400 Blows' is one of the most well-known films of this movement, and has been embraced and hailed as one of the greatest films of all time.

After viewing Truffaut's 'The 400 Blows', I have been ruminating over the deeper meaning behind his story of Antoine Doinel, a 14 year old boy in Paris who is having trouble in school and trouble at home. In school, he is marginalized as a trouble-maker, yet it is obvious that it is more a matter of him causing trouble by expressing himself creatively rather than following along with mundane assignments. At home, Doinel has to deal with an adulterous mother who only pays attention to him when it suits her needs, and a father who is barely present. Doinel responds by doing the only thing he feels he can do, and that is by acting up; eventually earning an expulsion from school and being sent to a juvenile prison camp by his parents.

Nothing is cut and dry in 'The 400 Blows'. If one were to take the film at face value, there would be a 'so what' feeling. What the film subtly explores is the disenfranchisement of youth. There is no joy in Doinel's life – anytime he tries to express himself creatively or acts up in a playful way he is shot down and metaphorically forced back into line. This is not a typical Paris street kid either, this is one who reads Balzac for pleasure and conveys intense emotion. The problem is that no one is there to notice or care. Another aspect of the French New Wave was that the films were not merely a product of a Hollywood factory; these were intensely personal films to the writers and directors. In the case of 'The 400 Blows', it is certain that Doinel is based on Truffaut, himself only 28 when he made the film. Truffaut's cinematography in 'The 400 Blows' is exquisite. We see a Paris that is not in Technicolor with colorful fountains like 'An American in Paris'. This is Paris from a Parisian's perspective – and the difference is breathtaking and intense. These are not Louis XVI style houses, they are tiny flats where people have to sleep in closets and walk up and down six flights of stairs. The city views are those of a native Parisian – the kind of tour one would get if they asked the average Parisian for non-tourist attractions.

There is still a lot that I have to learn and think about 'The 400 Blows' and French New Wave in general, but with the minute amount of understanding I have of it, I found it to be an intense film, one that left me emotional and craving enlightenment. Rarely is there a film that leaves that kind of impact on me, but Truffaut managed to leave me speechless and deep in thought with 'The Four Hundred Blows'.

--Shel

I've seen this film about five times over the last twenty-five years. As narrative, this film is quite boring. I can never become involved with or care much for its characters. It is a depressing picture of a twelve-year-old boy who is trapped by parents and teachers, by public school, and by reform school. An American film about this subject in 1959--the year of this film--would either have tried to squeeze a tear from the audience's eye or would have tried to arouse the audience to action, and would have been presented to the audience as a sensational expose of juvenile delinquency. This film just presents its story in a straightforward, objective, slice-of-life manner. I think that's why it's so depressing.

Since I know Truffaut is a fan of Hitchcock, I thought some of the narrative line might have grown out of an episode Hitchcock often related--how his father had him locked up in jail overnight as a youth to teach him a lesson.

I feel this film is worth more as an historical item than as entertainment. For this reason, it should be taught in film courses and will have a certain impact on young, first-time viewers. Historically, it's important (1) as a film that helped form the French New Wave; (2) because Truffaut went on to become an important film director and this film is autobiographical; (3) as the first of the Antoine Doinel series, Doinel being a cinematic semi-autobiographical figure for Truffaut. Actually, I have been bored to varying degrees by all the Doinel films and find Jean-Pierre Leaud, who plays Doniel in "The 400 Blows" as well as the other films in the series, to be a nincompoop.

The technique in this film is very like the Italian neo-realist films, especially a film like "Open City." It's shot in low-contrast black and white, it's shot in actual locations around Paris; it presents a slice of life.

Despite all I've written above, I've seen many Truffaut films that I've liked very much (Shoot the Piano Player, Jules and Jim, The Soft Skin, The Bride Wore Black, Mississippi Mermaid (complete version), The Woman Next Door, among others) but not the Antoine Doniel films.

The memorable story of young, troubled Antoine is worth seeing for a good number of reasons, probably most of all for the thoughtful direction by François Truffaut. It stands out from most other movies about troubled youths, both in the way that it portrays the main character and in making such good use of seemingly minor events in showing how they shape Antoine's life.

As Antoine, Jean-Pierre Léaud (in the role with which he would always be identified) strikes a nice balance in making his character come to life without making any of his actions seem forced or over-dramatic. Truffaut sets things up for him perfectly, by presenting a great variety of situations in his life that allow Antoine's character to come out naturally. Many of the settings are in themselves interesting and creative, despite being located in familiar types of places.

The story is written carefully so as to allow the viewer to identify with and sympathize with Antoine, while still seeing his faults clearly. What is often the most affecting thing about it is the way that Truffaut shows how even the most commonplace kinds of events can have such an effect on a maturing person, if they are a source of disappointed expectations or misunderstood intentions. To make this kind of movie so effectively without relying on violent or shocking material is an admirable achievement, and it repays careful thought and attention while watching it.