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The 400 Blows

Original title: Les quatre cents coups
  • 1959
  • Not Rated
  • 1h 39m
IMDb RATING
8.0/10
132K
YOUR RATING
POPULARITY
4,760
469
François Truffaut and Jean-Pierre Léaud in The 400 Blows (1959)
In celebration of the 60th anniversary of 'The 400 Blows' (Les Quatre Cents Coups), we take a look back at François Truffaut's critically acclaimed film, starring Jean-Pierre Léaud, Albert Rémy, and Claire Maurier.
Play clip1:06
Watch 'The 400 Blows' | Anniversary Mashup
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99+ Photos
Coming-of-AgeTeen DramaTragedyCrimeDrama

A young boy, left without attention, delves into a life of petty crime.A young boy, left without attention, delves into a life of petty crime.A young boy, left without attention, delves into a life of petty crime.

  • Director
    • François Truffaut
  • Writers
    • François Truffaut
    • Marcel Moussy
  • Stars
    • Jean-Pierre Léaud
    • Albert Rémy
    • Claire Maurier
  • See production info at IMDbPro
  • IMDb RATING
    8.0/10
    132K
    YOUR RATING
    POPULARITY
    4,760
    469
    • Director
      • François Truffaut
    • Writers
      • François Truffaut
      • Marcel Moussy
    • Stars
      • Jean-Pierre Léaud
      • Albert Rémy
      • Claire Maurier
    • 267User reviews
    • 194Critic reviews
  • See production info at IMDbPro
    • Nominated for 1 Oscar
      • 8 wins & 5 nominations total

    Videos1

    'The 400 Blows' | Anniversary Mashup
    Clip 1:06
    'The 400 Blows' | Anniversary Mashup

    Photos145

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    Top cast39

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    Jean-Pierre Léaud
    Jean-Pierre Léaud
    • Antoine Doinel
    Albert Rémy
    Albert Rémy
    • Julien Doinel - le beau-père d'Antoine
    Claire Maurier
    Claire Maurier
    • Gilberte Doinel - la mère d'Antoine
    Guy Decomble
    Guy Decomble
    • 'Petite Feuille' - l'instituteur
    Georges Flamant
    Georges Flamant
    • Mr. Bigey - le père de René
    Patrick Auffay
    Patrick Auffay
    • René Bigey
    Daniel Couturier
    • Bertrand Mauricet - un élève
    François Nocher
    François Nocher
    • Un délinquant
    Richard Kanayan
    Richard Kanayan
    • Un élève
    Renaud Fontanarosa
    Renaud Fontanarosa
    • Un élève
    Michel Girard
    • Un élève
    Serge Moati
    Serge Moati
    • Un élève
    • (as Henry Moati)
    Bernard Abbou
    • Un élève
    Jean-François Bergouignan
    • Un enfant
    Michel Lesignor
    • Un enfant
    Luc Andrieux
    Luc Andrieux
    • Le professeur de gym
    Robert Beauvais
    Robert Beauvais
    • Le directeur de l'école
    Bouchon
    • Director
      • François Truffaut
    • Writers
      • François Truffaut
      • Marcel Moussy
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews267

    8.0131.9K
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    Featured reviews

    Snow Leopard

    Memorable Story With Thoughtful Direction By Truffaut

    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.
    Camera-Obscura

    Truffaut's powerful and moving look at adolescence

    THE FOUR HUNDRED BLOWS (François Truffaut - France 1959).

    Twelve-year-old Antoine Doinel (Jean-Pierre Léaud) has troubles at home and at school. Ignored and neglected by his parents, his relationship with his mother is further strained when he discovers that she has taken a secret lover. Added to this, his school teachers have written him off as a trouble maker and, with luck seemingly never on his side, it is Antoine who ends up getting the blame for bad behaviour. Finding refuge only in his love of cinema, Antoine soon finds it necessary to break free and discover what the world can offer outside the confines of everyday life.

    I have always struggled with the labeling of this film as one of the pivotal entrances in the "Nouvelle Vague". Since Jean-Luc Godard's "Au Bout de Soufflé", who uses a completely different approach to film-making, with his restless jump-cutting and endless references to pop culture, Truffaut presents his case clear cut, as realistic as possible. But this was something completely different from the way American films portrayed juvenile delinquency so far. No iconic trouble makers like James Dean or Marlon Brando, just a realistic portrait of a twelve-year old boy sliding into isolation. The very idea alone was something novel, seldom depicted in a way like this.

    Much of the praise must go to Jean-Pierre Léaud, who never even seems to be acting. His every movement, thought, expression come across as completely natural. Truly, one of the most remarkable performances of such a young actor I've ever seen. Watching this over 40 years after it was made, it all looks deceptively simple, with Truffaut's perfect integration of music and image, location shooting on the streets of Paris and the naturalistic performances. Truffaut used many innovations but they are not easily noticeable as in Godard's work. This was for instance the first French film to be shot in widescreen (aspect ratio 2.35:1), which required much planning on Truffaut's part, with some surprising results. In many scenes we don't see the other person Antoine is talking to, which gives the viewer the illusion as if Antoine is almost talking directly to the camera. Jean-Pierre Léaud would continue his role as Antoine in four more films by Truffaut, "Love at Twenty" (1962), "Stolen Kisses" (1968), "Bed and Board" (1970) and "Love on the Run" (1979).

    Camera Obscura --- 9/10
    9EUyeshima

    Deserved Truffaut Classic Benefits Significantly from Criterion's New DVD Package

    As the seminal work of the French New Wave, the 1959 directorial debut of 27-year old Francois Truffaut has such a vaunted reputation that the final film is bound to disappoint. However, the pristine print that comes with the new Criterion Collection DVD really makes me realize what a brave and emotionally resonant film he made ostensibly about his own troubled adolescence. It's worth seeing twice - once for the film itself and a second time to listen to the newly recorded commentary by Truffaut's childhood friend Robert Lachenay (the true-life inspiration for Rene in the film). Speaking in French but subtitled in English, he provides insights into the story and context of the film that no film scholar or even production associate could possibly provide. As a point of comparison, listen to the by-the-numbers commentary by film scholar Brian Stonehill (recorded back in 1992), which is thoughtful and well researched but devoid of the human factor.

    The film's title comes from a French colloquialism that translates into "raising hell", an appropriate reference since the story focuses on a thirteen-year old hellion named Antoine, living in a poor section of Paris and neglected by parents downright arrogant in their dysfunctional nature. Antoine consequently lives a street urchin's life as he lies to people in authority - his parents, his teachers, and the police - since he admits rather sadly that the truth doesn't make any difference. Truffaut tracks Antoine's life through a series of dispiriting episodes that ultimately lead him to be sent away to a reformatory after he gets caught returning a stolen typewriter and his mother and stepfather tire of their responsibility over him. To Truffaut's immense credit, the film feels stark and naturalistic without resorting to dramatic manipulation, and he finds the ideal Antoine in Jean-Pierre Leaud, who brings out the confusion, angst and wandering attention of his character in realistic terms. He is especially impressive in an apparently improvised scene where he is interviewed by the school authorities about why his life has come to this. It is heartbreaking to see how bleak his life becomes, yet Leaud imbues the incorrigible, often intolerable side of Antoine with fervor.

    There are several interesting extras included with the 2006 DVD package starting with two separate interviews with Truffaut, the first a year after the film's release discussing he film's impact and the second five years later when we see the filmmaker in a more reflective mood about his cinematic influences. Leaud is featured in 16mm screen test footage where his naturally ebullient personality emerges and then after the 1959 Cannes Film Festival where puberty has apparently kicked in and then in 1965 as a comparatively reserved twenty-year old. The screen test of Richard Kanayan (who has a minor role as a schoolmate) is amusing for his Satchmo-inspired rendition of "When the Saints Go Marching In" and his eerie resemblance to Fantasy Island's Tattoo, Herve Villechaize. Be forewarned that the film is relentlessly downbeat, but Truffaut's emotional investment and consummate abilities as a filmmaker, even at this stage of his career, make this essential viewing.
    10jdnmevans

    Extraordiany Portrait Of A Parisian Youth - One Of The All Time Greats

    In viewing François Truffaut's The 400 Blows for perhaps the fifth time, I finally began to realize its true greatness. Inspired by the director's childhood, The 400 Blows (Truffaut's first film) is primarily about a young boy growing up with his mother and stepfather in Paris and apparently heading into a life of crime. Most adults see the boy as a troublemaker, but in the film, he is meant to be the protagonist.

    Antoine Doinel (Jean-Pierre Léaud) is the boy's name. He is resourceful, quiet, and does what he can to get by. At home, he has a struggling relationship with his parents, especially his mother. She is a woman of curious interests, always distracted by her incommodious son and a secret affair with a man from her job. Antoine's stepfather appears nice enough while treating his son as an equal in a good manner, although he is not really attached to him. However, both parents share common traits: they are away from home quite a bit and do not pay close enough attention to their son. Sadly enough, they only judge him by his behavior and by reports they get from other people.

    At school, Antoine's teacher classifies him as a menacing troublemaker. Not that it is entirely Antoine's fault, he just has terrible luck. In the opening scene of the film, we see a poster with a half-naked woman on the front being passed around quietly by the students. The teacher is sitting at his desk with his head down, grading papers, until the poster comes to Antoine and he finds it. He sends Antoine to the corner of the room, where he writes a note of resentment on the wall. As punishment for that, he is to diagram the exact words that he wrote. At home that night, Antoine's homework is interrupted. Because he did not complete it, his good friend René convinces him to skip school the next day, although Antoine is reluctant at first. They walk around France and notice Antoine's mother kissing a man that is not her husband. She and her son make eye contact, but René assures his friend that everything will be alright. The next morning, as the boys return to school, Antoine lies to his teacher and says the reason he missed school was that his mother died. Everything is alright until his mother, furious, arrives at school and her son is immediately identified as a liar.

    And yet, we see Antoine alone at home in some private, subtle, and hopeful moments. One of them being, his love for Balzac. He adores him, and we see him reading his biography and lighting a candle in a shrine in his honor at home. One day, at school, the students are proposed to write an essay on an important event in their life, and Antoine chooses the topic of his grandfather's death, in which he incorporates a phrase from his Balzac book. Alas, the teacher identifies this as plagiarism, and sends Antoine out of the classroom, along with René. The two boys stay at René's house for quite some time, living up to the expectations of a life of crime, until they steal a typewriter leaving Antoine caught trying to return it. He is later sent to a juvenile delinquent detention home.

    The 400 Blows is not meant to be a tragedy. Rather, it is a character study following Antoine Doinel's life and decisions he makes as a direct result of the many things going on in it. Even The 400 Blows captures a few moments of happiness joy. One of these is a priceless sequence in which a gym teacher is leading Antoine's class for a jog through Paris, not realizing that the boys are peeling off and running away two by two. There is another scene after Antoine's shrine for Balzac catches on fire and his parents are stressing and yelling at him. His mother suggests an outing to a movie theater, where they end up going. After the film, we see the trio in the car, laughing and reflecting on what they had seen. We see this as a moment of hope for Antoine and his family, for this being the only time they are all happy together.

    There are many poignant moments however, emerging late in the film after Antoine is caught for stealing the typewriter. His father is fed up with his behavior and escorts him to a police station where he is sent to a jail cell and later in a police wagon full of prostitutes and thieves, with his face peering through the bars, full of tears. His parents discuss with the authorities that they cannot not take him back because they believe he will only run away again. So, in turn, their son is taken to the juvenile delinquent school. These sequences express a reality of Antoine's life, in tune with the outcome of himself. He remains quiet and reserved towards the end of the film, as if he has nothing to say.

    The story of Antoine Doinel and his many experiences allow a life to be filled with curiosity and exploration. Every second of the ninety-nine minutes of the film is not wasted. Truffaut allows every minute to be overflowing with creativity while still maintaining the central story of the protagonist. It is not a film that can be taken lightly as a family movie to be watched every Saturday night. It is a film to be given plenty of thought, carefully examined, and given a conclusion. The genius of the film does not rely on that, moreover, it relies on how much is put into the film. Down to the smallest detail, the film is able to maneuver and progress. The story contains elements of sadness, regret, family, warmth, happiness, humor, values, and choices. Just like life itself.
    10maax48

    French cinema at its best

    Truffaut has worked wonders here, creating a masterful tale of a boy confused, troubled, and unloved. Antoine Doinel (played superbly by Jean-Pierre Léaud in the lead role) has strict, unfaithful parents, and a harsh, oppressive teacher, and falls into delinquency because of his unhappiness. He lies, steals, skips school and runs away from home, and soon ends up in a juvenile delinquency centre.

    Truffaut's inspiration for this film came from his own depressed childhood, so he bases Antoine on himself, including in terms of appearance. Being a 'New Wave' (a cinematographic movement of the sixties, involving directors who believed Hollywood films were too lavish and unreal) director, Truffaut always used a real location for the film, including breathtaking shots of Truffaut's native Paris. He also made a cameo in the film in the style of Hitchcock.

    Delinquance is the key theme here. Antoine, who is a character who believes in liberty and freedom, and the way he is always locked up is repressive for him, and this provokes a constant need for him to be out.

    Trying to make a realistic and moving film was Truffaut's aim, which, by watching this film, I realised that he had done amazingly well. Also, by combining humour and drama too, we have the defining French film of the 20th century. A black and white film that is full of colour. Bien sur, François Truffaut.

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      All the young actors who unsuccessfully auditioned for the role of Antoine were used in the classroom scenes.
    • Goofs
      (at around 1h 39 mins) At the end, right as Antoine reaches the water's edge, the shadows of the crew can be seen on the sand and water.
    • Quotes

      Psychiatrist: Your parents say you're always lying.

      Antoine Doinel: Oh, I lie now and then, I suppose. Sometimes I'd tell them the truth and they still wouldn't believe me, so I prefer to lie.

    • Alternate versions
      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.
    • Connections
      Edited into Histoire(s) du cinéma: Une vague nouvelle (1999)
    • Soundtracks
      Les Quatre Cents Coups
      Music by Jean Constantin

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    FAQ19

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    Details

    Edit
    • Release date
      • November 16, 1959 (United States)
    • Country of origin
      • France
    • Languages
      • French
      • English
    • Also known as
      • Los 400 golpes
    • Filming locations
      • Pigalle, Paris 9, Paris, France(location)
    • Production companies
      • Les Films du Carrosse
      • Sédif Productions
    • See more company credits at IMDbPro

    Box office

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    • Gross US & Canada
      • $509
    • Opening weekend US & Canada
      • $11,206
      • Apr 25, 1999
    • Gross worldwide
      • $213,545
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      1 hour 39 minutes
    • Color
      • Black and White
    • Sound mix
      • Mono
    • Aspect ratio
      • 2.35 : 1

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