A young Parisian boy, Antoine Doinel, neglected by his derelict parents, skips school, sneaks into movies, runs away from home, steals things, and tries (disastrously) to return them. Like most kids, he gets into more trouble for things he thinks are right than for his actual trespasses. Unlike most kids, he gets whacked with the big stick. He inhabits a Paris of dingy flats, seedy arcades, abandoned factories, and workaday streets, a city that seems big and full of possibilities only to a child's eye. Written by
Angel faces hell-bent for violence.
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Did You Know?
All spoken lines in the film are dubbed over again by the actors themselves, save for a few minor and trivial parts. For instance, during the last scene, the sound of Antoine's footsteps was added during editing - the truck that the camera rested upon produced too much noise. Shooting on the streets of Paris, as many films of the French New Wave did, was often hectic and re-dubbing everything allowed François Truffaut
to not have to worry about lugging bulky and expensive sound equipment around, and more importantly he would not have to worry about a street scene having too much background noise. This made shooting faster and easier. See more
At the end of the gravity wheel sequence, the camera pans up to look at the crowd showing the boom mic in the centre of the screen. See more
Doinel, bring me that. Indeed! Go to the corner!
Referenced in Evidence
Les quatre cents coup
Composed by Jean Constantin See more