The 400 Blows: Film as Literature Review

I thought The 400 Blows, a Francois Truffaut film starring Jean-Pierre Léaud, was a respectable movie, with certain aspects that shone, and others that disappointed. The plot was passable, a sort of mix between a story of oppressive parents and a child that won’t follow the rules, regardless of who tells him otherwise. The scenery all contributed to the artsy, almost indie feel of the movie, with gorgeous, sweeping shots of the Eifel Tower, and the Paris backdrop. The characters were believable as a whole but the acting really saved the movie in many ways. While Léaud’s Antoine was a strong figure, the acting in parts really did nothing to influence this either way, although full conclusions can’t be necessarily drawn, since the majority of the shots are from a birds-eye view and don’t necessary highlight good or bad performances from the actors. As a whole, however, everything comes together in a successful film with definite some flaws and triumphs.
This classic 1959 film shares many aspects with classic literature. Like some novels, the plot was about as simple or deep as you took it to be. That is to say, you could see it as being a story of a child rebelling against his parents, or you could look further and note the intricate father-son and husband-wife relationships, Antoine’s struggles to excel in school, and his intense passion for the work of Balzac. That being said, Antoine appears to be the same way. Scratching the surface, he comes into sight as a rude child who dislikes all authority. However, his troubled past as well as his disapproving parents force him to rebel and throw off what he knows to live a new life. The setting provided a strong backdrop for the motion picture as well. The phenomenal views of the countryside as well as the panning shots of the city showed the world outside the dismal, shadowy apartment Antoine shared with his uneven step-father and his vindictive mother. Though the movie taught us that crime doesn’t pay, you couldn’t tell that through Antoine’s relentless attempts at stirring trouble. What you could learn from Antoine, however, was that family is a necessary part of a successful life. Although both a mom and dad are present in Antoine life, they provide little to no support for him, and this clearly affects him negatively. When a child is forced to lie to his teacher about the death of his mother, steal a typewriter from his father, and escape a juvenile holding facility, you know something in them is not quite right. And obviously, that fault of misguidance falls on the parents. The story is told from a third person point-of-view, someone seeing and following Antoine from the outside, which I think helps us as viewers see the story in an unbiased sort of way. These literary aspects all help us to further analyze and understand the movie in many different lights.
The dramatic aspects of The 400 Blows are those that it shares with live productions. In a play or musical, acting is what makes or breaks the performance, and there is no exception in cinema, whether past or present . In this film, the leading role falls on a young Jean-Pierre Léaud, aged 15 at the time, but playing a 12 year old Antoine Doinel. Although he represents a very dynamic character, Léaud can’t seem to fully muster the emotion needed to portray a part of such difficulty. While he plays certain parts well- his portrayal of a young school boy causing trouble to an overworked and underpaid professor is superb- there are parts that leave you wanting more. Although he handles a complex part like an experienced actor, there is always something left to be desired. After being placed in a temporary jail, Antoine plays it cool, trying to show is toughness. However, Léaud appears almost too calm, putting a lack of emotion into the role where there should be a distinct air of superiority. Yes, the part comes off fine, but again, the scene is missing something. The casting , however, was first-rate. The choice of a young Léaud, making only his second silver-screen appearance, was a good one, for not many teenagers could have played the part with such distinction. The other major roles- those of Antoine’s mother, Gilberte (Claire Maurier), and Antoine’s father, Julian (Albert Rémy)- are superb, roles that really make you question whether you are watching actors or actual people interacting. Maurier’s performance especially stands out, in her playing of a mother who goes back and forth in her attempts to win back the good graces of her son. Very rarely did Maurier’s performances slip below purely striking. Although we don’t see much of her other than at the apartment, we can gather that she continually swayed between befriending and attacking her son Antoine. Her finest scenes came when she was doing something in the wrong whether it be lying to her husband or trying to make a corrupt deal with her son, and did they ever stand out. She was wickedly cool, making moviegoers love to hate her and wonder at what she would do next. Another role that was almost as entertaining, and equally two-faced was that of Antoine’s father. Played by the Paris-native Rémy, Gilberte was one that was hard to read. He appeared in the beginning to be a step-father trying to make peace in the family, joking with Antoine as much as he was assisting his eccentric wife. However, as the movie progressed, his mask was removed and he was revealed to be a cold, pitiless man, eventually dumping his son for juvenile treatment. His changing performance of good to evil, while still maintaining the seemingly same outer personality, was outstanding, blink-and-you-may-miss-it stuff, a real jem of a routine turned out once in a lifetime. It’s a pity he didn’t receive more screen time, although we’ve been shown again and again by actors such as Anthony Hopkins (Silence of the Lambs) that less really can be more when it comes to the art of film. As with Léaud, Rémy and Maurier are amazing choices for their jobs, each going above and beyond their expected roles, and even without such blatant flaws as those of the young Léaud . Even the lighting was superbly chosen, from the playful shadows of the city streets to the ominous shades of the apartment Antoine called home. The contrast of light versus dark gave a new feel to the movie, causing the viewer to get a sense for what was coming before it even happened. All this added up to brilliant dramatic aspects which made the movie stand apart.
Cinematic elements are those unique to film, those elements that come together when the editing is done and the reel is ready. These silver screen basics can be timidly subtle or immensely powerful. One of the most striking powerful things of this movie was the music, those same few notes repeated with almost eerie regularity throughout the picture . The refrain sounds happy, yes, but it’s the timing that is interesting. Though a casual viewer could view these melodic outburst as totally random, a deeper thinker can see a pattern emerge from the mangle of notes. Although within his residence there is silence, Antoine’s journeys outside cause the orchestra to strike up a tune, representing his freedom and happiness to be free of rules. The music is always light and happy, probably used by Truffaut to imply Antoine’s mood and his worry-free personality when away from oppressive adults. The camera work, on the other hand is a more subtle work that takes even more work to decipher. The majority of the shots are wide and sweeping, giving the observer a view of the whole picture, and letting them take in the scenery and surroundings of Paris. One scene showing the Paris scenery also happens to involve Antoine running from the Observation Center. This scene in particular is unique because it shows Antoine on the run for so very long. This seems to represent his running away from not only the guards, but his past as well, and the life he has grown up to know all too well. The shots are long throughout the flick, giving the feel of Antoine being distant, probably an intentional effect. Also, Antoine is camera shy, not looking the camera in the eye until the very last seen when he stares it down and makes his presence known: a dominant force in a land no longer ruled by adults.
Both Antoine Doinel, from The 400 Blows, and Richard Wright, from Black Boy, are quite comparable in many ways, although mostly in contrasting ways. Neither Antoine nor Richard can connect with society, which hurts them in their own way. While it drives Richard to become more integrated, it pushes Antoine further, leading him to the point of apparently leaving civilization, and possibly start life anew. They are also quite opposites when it comes to family relations, and in particular mother and son bonding. Richard and his mother may not always appear best of friends, they’re always there for each other, and love each other through thick and thin. Antoine and his mother, however, have an icy relationship, causing many arguments and eventually leading in part to his short lived stay at the Observation Center. While Richard and his mother want to be with each other, Antoine’s mother would rather have nothing to do with him, and tells him so at many points. So as strong as the bond between mother and son is in Richard’s life, it is equally or even possibly more feeble in the Doinel family.
As a whole, this movie was quite entertaining, and definitely worth a look. Though a little blemished in some parts, the performing was mostly top-notch and worth the price of admission on its own. But as good as the acting was, the cinematic aspects stole the show, with its awesome backdrop, a wide angle providing a matchless perspective, and music to embody the inner feelings of freedom in Antoine’s soul. Though the themes may not always be the clearest, the plot is attention-grabbing and deep to say the least, and characters are as interesting as they come, especially the intricate Antoine and his two-faced father. Overall, it’s a fun, while flawed, movie, that the whole family can not only watch but adore.