Os Incompreendidos

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.

THE FOUR HUNDRED BLOWS (François Truffaut - France 1959).

Twelve-year-old Antoine Doinel (Jean-Pierre Léaud) has troubles at home and at school. Ignored and neglected by his parents, his relationship with his mother is further strained when he discovers that she has taken a secret lover. Added to this, his school teachers have written him off as a trouble maker and, with luck seemingly never on his side, it is Antoine who ends up getting the blame for bad behaviour. Finding refuge only in his love of cinema, Antoine soon finds it necessary to break free and discover what the world can offer outside the confines of everyday life.

I have always struggled with the labeling of this film as one of the pivotal entrances in the "Nouvelle Vague". Since Jean-Luc Godard's "Au Bout de Soufflé", who uses a completely different approach to film-making, with his restless jump-cutting and endless references to pop culture, Truffaut presents his case clear cut, as realistic as possible. But this was something completely different from the way American films portrayed juvenile delinquency so far. No iconic trouble makers like James Dean or Marlon Brando, just a realistic portrait of a twelve-year old boy sliding into isolation. The very idea alone was something novel, seldom depicted in a way like this.

Much of the praise must go to Jean-Pierre Léaud, who never even seems to be acting. His every movement, thought, expression come across as completely natural. Truly, one of the most remarkable performances of such a young actor I've ever seen. Watching this over 40 years after it was made, it all looks deceptively simple, with Truffaut's perfect integration of music and image, location shooting on the streets of Paris and the naturalistic performances. Truffaut used many innovations but they are not easily noticeable as in Godard's work. This was for instance the first French film to be shot in widescreen (aspect ratio 2.35:1), which required much planning on Truffaut's part, with some surprising results. In many scenes we don't see the other person Antoine is talking to, which gives the viewer the illusion as if Antoine is almost talking directly to the camera. Jean-Pierre Léaud would continue his role as Antoine in four more films by Truffaut, "Love at Twenty" (1962), "Stolen Kisses" (1968), "Bed and Board" (1970) and "Love on the Run" (1979).

Camera Obscura --- 9/10

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.

The Four Hundred Blows is the semi-autobiographical story of Antoine Doinel, a boy trapped in a life of contemtptuous authority who turns to outward rebellion. Truffaut shows his mastery of the cinema in this, his freshman attempt.

The film is perfectly cast with Dionel relaying neutral facial expressions for the majority of the film. The boy, although not necessarily evoking sympathy from the audience, definitely evokes empathy. He is a pathetic character forced into his position by his teacher and his almost uncaring mother.

Throughout the film, Truffaut hints at the possibility of a happy life for the protagonist, but just as soon as the ideal is given to us, it is taken away. The mood shifts in the film are fabulously orchestrated through contrasting scenes, music, and even acting. From the opening sequence through the final, enigmatic still shot, the movie is a masterpiece of both French and world cinema. It is a must see.

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.