Text appears in the credits as well as in the subtitles, but also on posters and other advertising media. Text never appears in the absolute:
Watch for French New Wave characteristics in the film. What are some of the over arching themes? Describe the music and film techniques used.
What specific moments stood out to you? What is director's view on this character? Describe the opening of the film. What do you think the director's intention was? How does the director tell us right away this film is not a studio film? There is a scene in which Antoine is looking into a mirror and we see his reflection multiple times.
How does this relate to himself, his mother, family situation? All of the sound and dialogue was dubbed in this film. Why do you think the director choose this way to record sound? What is the symbolic meaning?
Julien, the young protagonist, can't seem to do anything right from stealing from his grandmother to lying to his teacher to stealing from his stepfather's office.
With each incident, the viewer wonders how or if this pre-teen will put his life back on track or will he be defined by the petty crimes of his 400 blows french film. Apparently, Truffaut did not think there were easy answers and we are left with an ambiguous ending.
Having the opportunity to view the work in its entirety more than twenty years later, I am struck as much by the images that escaped my notice or slipped through my memory long ago as by the scenes woven into recollections of my college experience.
Not all of the scenes in Blows were a revelation to me. The relationship between Antoine and his mother seems fraught with all sorts of Oedipal issues.
The scene after he runs away illustrates this: The only problem is as he runs, we sense that he is running in place as Truffaut utilizes a single, long- in-duration tracking shot that follows Antoine so he never makes headway through the frame but seems to be running only for the sake of running.
Ultimately, he ends up at the sea, confined now not only by the camera frame but by the geography of his life: Though dated in some ways and distant to some viewers because of language, culture, and time, this films still speaks to us as it artistically shows the struggle of an unloved and lost soul trying to find a path, any path, that will take him home, but, because he has never had a true home, will he recognize his the place he is running to as home?
Close-up views as the camera swing around to film them running down the street was fantastic. The fading out I thought was very interesting. As the students were running down street the music was soft and I was amused watching.
As you can see students disappearing from the line the switching the line to students crossing the street you no longer see the line, but, you knew it was there and getting smaller. As the line continued the students hiding, as if they were playing a game. This reminded me that they were kids as they dodge traffic.
The camera angles were great close, top, and wide view. There is so much going on as the students veered from the line. When he risks his life at the end of the film, the filmmaker creates a sense of uncertainty about Antoine's fate.
However, the image of the sea fulfills a yearning that Antoine articulated earlier in the film and therefore provides the viewer with a sense of hope that Antoine succeeds and finds his place in the world.The Blows, French Les Quatre Cents Coups, French film drama, released in , that defined the New Wave cinema movement created by young French directors in the late s and ’60s.
It was the first film in François Truffaut’s acclaimed Antoine Doinel series, which followed a character widely considered to be the director’s alter ego.
The Swedish title: "De slagen" means "The blows" and make no sense. The original title stems from the French expression "Faire les quatre cents coups", meaning "to live a . Aug 08, · The later films have their own merits, and "Stolen Kisses" is one of Truffaut's best, but "The Blows," with all its simplicity and feeling, is in a class by itself.
It was Truffaut's first feature, and one of the founding films of the French New Wave.4/4. The French new wave gave birth to such ideas as “la politique des auteur,” jump cuts and the unimportance of linear structure, if only to name a few.
What the French new wave gave, most importantly, was a radical sense of change in cinema that would trickle throughout the world.
LES QUATRE CENTS COUPS (The Blows) - Francois Truffaut - Antoine Doinel (Jean-Pierre Leaud) is a year-old boy who keeps getting into trouble at school. After being found out and punished for skipping classes, he runs away from. The British film magazine Sight & Sound dedicates its May issue to the fiftieth anniversary of the French New Wave, which it dates to the first screening of François Truffaut’s The Blows (on May 4, , at the Cannes Film Festival).