The 400 Blows
(1959)
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The 400 Blows
(1959)
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| Cast overview, first billed only: | |||
| Jean-Pierre Léaud | ... | ||
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Claire Maurier | ... |
Gilberte Doinel - la mère d'Antoine
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Albert Rémy | ... |
Julien Doinel
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Guy Decomble | ... |
'Petite Feuille', the French teacher
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Georges Flamant | ... |
Mr. Bigey
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Patrick Auffay | ... |
René
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Daniel Couturier | ... |
Betrand Mauricet
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François Nocher | ... |
Un enfant /
Child
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Richard Kanayan | ... |
Un enfant /
Child
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Renaud Fontanarosa | ... |
Un enfant /
Child
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Michel Girard | ... |
Un enfant /
Child
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Serge Moati | ... |
Un enfant /
Child
(as Henry Moati)
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Bernard Abbou | ... |
Un enfant /
Child
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Jean-François Bergouignan | ... |
Un enfant /
Child
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Michel Lesignor | ... |
Un enfant /
Child
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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 alfiehitchie
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.