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The 400 Blows (1959)

Les quatre cents coups (original title)
Not Rated | | Crime, Drama | 16 November 1959 (USA)
Moving story of a young boy who, left without attention, delves into a life of petty crime.

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(scenario), (adaptation) (as M. Moussy) | 2 more credits »
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Top Rated Movies #200 | Nominated for 1 Oscar. Another 7 wins & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Claire Maurier ...
...
Guy Decomble ...
...
Mr. Bigey
Patrick Auffay ...
Daniel Couturier ...
Betrand Mauricet
François Nocher ...
Un enfant / Child
Richard Kanayan ...
Un enfant / Child
Renaud Fontanarosa ...
Un enfant / Child
Michel Girard ...
Un enfant / Child
Serge Moati ...
Un enfant / Child (as Henry Moati)
Bernard Abbou ...
Un enfant / Child
Jean-François Bergouignan ...
Un enfant / Child
Michel Lesignor ...
Un enfant / Child
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Storyline

Seemingly in constant trouble at school, 14 year-old Antoine Doinel returns at the end of every day to a drab and unhappy home life. His parents have little money and he sleeps on a couch that's been pushed into the kitchen. He knows his mother is having an affair and his parents bicker constantly. He decides to skip school and begins a downward spiral of lies and later stealing. His parents are at their wits end and after he's stopped by the police, they decide the best thing to do would be to let Antoine face the consequences. He's sent to a juvenile detention facility where he doesn't do much better. He does manage to escape however......... Written by garykmcd

Plot Summary | Add Synopsis

Taglines:

Det franske mesterværk om de unge i lømmelalderen[Denmark] See more »

Genres:

Crime | Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

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Language:

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Release Date:

16 November 1959 (USA)  »

Also Known As:

The 400 Blows  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The Spanish (Spain) dubbed version of this film has about 12 minutes of footage missing. When Antoine's mom returns home and argues with her husband while Antoine pretends to sleep, the scene in which the family heads home after going to the movie theater, when Antoine and René smoke and drink in Rene's room and when they throw things from the ceiling with blow pipes, are among the scenes that are missing. The scene in which the father talks about the new secretary sleeping with the boss is dubbed to the father speaking about the boss liking the new secretary and her being a very good worker and being promoted because of that. The interview with the psychologist was dubbed with the psychologist asking Antoine if he has had a girlfriend, and he talks about dating some girls but not liking any of them and finding a girl he liked but who chose an older guy instead of him, when in the original he is asked if he's slept with a woman and he goes on to talk about when he tried to get one to sleep with. See more »

Goofs

At the end of the movie, crew footprints can be seen in the sand on the beach. See more »

Quotes

[first lines]
Petite Feuille: Doinel, bring me that. Indeed! Go to the corner!
See more »

Connections

Referenced in Edición Especial Coleccionista: Casino Royale (2011) See more »

Soundtracks

Finale
Composed by Jean Constantin
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User Reviews

 
One of the shining stars of the French New Wave
20 September 2004 | by See all my reviews

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


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