#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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………
Plot: For young Parisian boy Antoine Doinel, life is one difficult situation after another. Surrounded by inconsiderate adults, including his neglectful parents, Antoine spends his days with his best friend, Rene, trying to plan for a better life. When one of their schemes goes awry, Antoine ends up in trouble with the law, leading to even more conflicts with unsympathetic authority figures.
Smart Tags: #dysfunctional_family #school #coming_of_age #teenager #teenage_boy #paris_france #juvenile_delinquency #schoolboy #running_away #skipping_school #friendship #adolescence #semi_autobiographical #cult_film #adultery #juvenile_delinquent #runaway_teen #typewriter #sea #judge #directorial_debut
|8.1/10 Votes: 106,452|
|8.1 Votes: 1341 Popularity: 12.424|
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
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.
Original Language fr
Runtime 1 hr 39 min (99 min), 1 hr 32 min (92 min) (Spain)
Rated Not Rated
Genre Crime, Drama
Director François Truffaut
Writer François Truffaut (scenario), Marcel Moussy (adaptation), François Truffaut (adaptation), Marcel Moussy (dialogue)
Actors Jean-Pierre Léaud, Claire Maurier, Albert Rémy, Guy Decomble
Awards Nominated for 1 Oscar. Another 10 wins & 6 nominations.
Production Company Les Films du Carrosse
Sound Mix Mono
Aspect Ratio 2.35 : 1
Camera Chevereau Cameras
Laboratory Laboratoires GTC, Joinville, France
Film Length N/A
Negative Format 35 mm
Cinematographic Process Dyaliscope
Printed Film Format 35 mm