400 Blows

The 400 Blows by Francois Truffaut was a very effective and well made film. Today, many pictures are either, “chick-flicks” or “man movies”. But this 1959 feature related to both sexes with a dramatic and climatic story-line. 400 Blows was effective because it taped into emotions and helped you relate to the main character, Antoine. It really captured the audience from the real world into nineteenth century France, letting their imaginations run wild.

The choices of the author/director for the literacy aspects were mostly excellent; some of theses aspects include, plot, characters, setting, themes, and symbols. Some endearing qualities of the 400 Blows’ plot were that it was a steady slope up throughout the movie, which lead the audience to be teetering on the edge of their seats. Another well organized characteristic of 400 Blows is the characters. Antoine, Gilberte, Julian, Mr. Bigey, and Rene; provided a nice variety of acting styles, personalities, and looks. This aspect really provided the audience with a sense of diversity. The setting was also very appropriate for this film because it took place in the very romantic and joyful city of Paris. This aspect really helped show where Antoine was most happy, while once he was moved to the harsher environment of the Mediterranean; he was not nearly as content. The themes and symbols were mostly connected; as one symbol/theme was the lighting. While in a happy moment or place, the lighting would be bright and the music would be upbeat. But there could also been a couple more themes; it would have made this film yet more interesting! The choices of the director in the literacy aspect were mostly well planned and moved in seamlessly with the other aspects of 400 Blows.

The dramatic aspects of 400 Blows include the selection of actors, costume and make-up, set design, and lighting. The casting of actors in 400 Blows included many good and bad choices. One excellent actor decision was from the character of Antoine Doinel. The character was meant to be portrayed as rebellious, emotional; which Jean-Pierre Leaud very much achieved with his half bad boy, half teddy bear acting styles. Another good character pick was for the casting of the French teacher, Guy Decomble. This was a good decision because his way of showing the teacher as a strict and very bias man, really fit in well and helped the story evolve. But the casting staff was not all right; one character that could have been chosen better is Gilbrette Doinel. The mother character was supposed to be played as a mean, self absorbed character; but at times Gilbrette Doinel “flipped flopped” her image from sketchy woman, to a normal fun-loving mom.

In 400 blows the cinematic aspects were for the most part very appropriate. Some of theses selections were for photography, camera movement, duration of shots, and sound. The photography of 400 Blows was interesting in that its perspective changed throughout the film. The director had two main distance and angle characteristics; one where the camera is looking down on Antoine, then another that the audience is looking at eye level with him. The first selection with the looking down view is mainly used when Antoine is being rebellious and acting childish. The other photography choice was used when the main character is acting mature and independent. This last view point gave the audience a sense of connection with the young boy. Another cinematic aspect that was important in 400 Blows was the camera movement. Through most of the movie, the camera moves along with Antoine fluidly and smoothly. But the camera at times, moved choppily when Antoine was in an “unhappy” situation. One aspect of this film that could have been helped is in the duration of shots selection. The timing was extremely off sometimes; this error left the audience bored and praying for a cut. An example of this is when Antoine is running away from boot camp; this shot went on for about forever! If only they had cut it off after they’re point got across it would have been more interesting. But a final really helpfully aspect of 400 Blows was the music. The way that they had the beat rise when Antoine was being rebellious, and slowing it down when he was behaving; heightened the audience’s emotions. Overall the choices of the director in the cinematic aspects were excellent; but at times they also could have perfected.

The 400 Blows and Richard Wright’s Black Boy are very much similar in their main conflicts, characters, and point-of-view. Theses two stories’ conflicts are similar in that they are in a constant struggle with some force; weather it may be a harsh family life or a racially discriminating time period, theses boys are always up against something. The main characters both also had very awkward family situations and a harsh home. They were also very alike in that they were both young at some point and rebellious. Both of theses memoir also had similar point-of-views in that the main character never showed the other view of the outside world but yet only their own. The 400 Blows and Richard Wright’s Black Boy were also very alike in other ways but the main similarities were in the conflict, characters, and point-of-view.

A recommendation to” go see this now!”is definitely in order for this film, 400 Blows. As long as you can speak fluent French and are a true black and white movie fan, then you will beyond doubt appreciate this movie. The plot, characters, setting, and themes selection was amazing and helped this motion picture suck the audience in. But although many may adore this movie, some may absolutely dread it! Basically if you cannot speak French or can not read subtitles, hate black and white movies, or can not appreciate sad films then I recommend not going to 400 Blows. But for the most part audience should like and care for this famous film.

Work Cited:
Truffaut, François. “400 Blows.” Dir. François Truffaut.
Wright, Richard. « Black Boy »