So the ending is as happy as it could be I suppose with the boy running away from the facility and at least he gets to see the sea, something his mother stated actually earlier and it is clear that she is not entirely indifferent towards him.
Also obvious during the scene when his stepdad is really mad at him because of the fire incident and still you could argue she stands a bit up for her son there because she is scared of him saying something about the affair, but I think it is not just that.
There is affection from her for her son, but real love probably not. Nonetheless, I must say the film never really won me over, especially in the sense that I cared for the main character and what is going to happen to him next. This also had to do with the supporting characters who were mildly interesting at best or just completely forgettable like the other boy for example with whom the main character goes on his stealing spree that involves the typewriting machine and even if he brings it back, there is no redemption for him.
That one I liked more than this one here, although it is really difficult to compare because this one here is completely drama with at best very subtle jokes at times.
The other one is almost exclusively comedy. But yes this here is drama. I read a title explanation includes jokes or something like that, although not the French original, but this clearly does not fit anyway, probably a bit tough to get the actual meaning across.
I am not too fond of the title anyway, I personally thought it would be like blows or lashes for the boy because what he did, which would have been even more exaggerated than everything else he had to endure as punishment in here because honestly what he does is not too severe at all. It's stuff we have all done. There is a guy on one occasion in an outfit that looks like nun's clothing and they greet him with Ma'am and so on, so this is basically the level you can expect.
I think the beginning and end were probably among the film's better parts, the middle really bored me at times though I must say. All in all, I give this film a thumbs-down and I am surprised how little it did for me because in general I like French films, also old ones, so maybe this one here is the exception that confirms the rule as we say here in Germany. Watch something else instead. Prismark10 30 September The title of the film is The Blows but it is actually an expression for 'Raising Hell.
It was a critical hit. Jean-Pierre Leaud plays Antoine Doinel, a misunderstood teenager in Paris who constantly gets into trouble at school and an at home.
Doinel is based partly on Truffaut himself. Doinel finds school boring, does not get on with his teachers who usually catch him telling lies including an embarrassing one where in a panic he tells that one of his parent has died. At home he is alone a lot as both of his parents are working. His glamorous mother Claire Maurier seems to have little time for him.
He gets on better with his father Albert Remy who is more playful but as the film progresses, he is actually the step-father and you also learn that his mother is having an affair. Doinel wants love but his step- father seems too weak he suspects his wife is cheating his mother too busy but he seems happiest when she does give him attention such as towelling him down after a bath. Doinel and his best friend Rene get into all sorts of scrapes and petty crime. Several times Doinel runs away from home and sleeps rough.
He gets caught stealing a typewriter from his stepfather's workplace and comes into the attention of the police, social services and the judiciary. At the end he is sent to a young offender's institute that he also runs away from and onto a beach to what looks like an uncertain future. However Truffaut would re-visit Doinel over the course of his directing career.
Watching this film it becomes apparent how much this influenced the British New Wave in the s. So much of this film reminded me of Kes by Ken Loach with its naturalistic acting styles.
Just look at the mischievous scene where the sports teacher takes the class for a walk around the streets of Paris and the kids disappear few at a time. The city is a playground but when Doinel is living rough it is also oppressive and scary. Of course as time has gone on the shock value of the out of control adolescent has been lost with newer, more franker films.
The French New Wave also had a different way of telling stories in the cinema that someone like me brought up on a diet of junk Hollywood blockbusters might not always appreciate. The film can be a little too wayward and loose. However the final freeze frame of a boy fulfilling his dream of seeing the sea but still alone and lost is regarded as a classic.
Apparently this is the first time a film ends in a freeze frame. This lack of affection in his home makes him a rebel, bad student, liar, reckless and stealing objects and money at home. This movement has produced low budget, but high quality movies, using a small crew, hand camera and free screenplay, with lots of creation and improvisation.
The character Antoine is the alter-ego of Truffault. His crimes, watched in the Twentieth-First Century, are minors, but in were much serious.
It is a very good movie, recommended for those who indeed loves cinema. My vote is nine. A very relaxed and natural look at growing up in the life of Antonie bob the moo 29 October Antonie Doinel is a typical young boy living in Paris. His mother and father are rather distant and pay him little attention when he is around the house.
Fed up with school he decides to just skive off and spend the day hanging around, playing with his friends in the local theme park. It is while he is doing this that he spies his mother kissing someone other than his father. This marks the start of a chain of events that see him getting into more trouble both at home and at school.
Although I have written a rough plot summary, I must note that I think this film is more about Antonie than it is any more traditional narrative. This is crucial to the film because it is so observational that it could almost be a documentary due to its style.
This is down to the natural direction from Truffaut, a skill that is only helped by his excellent use of the locations, in particular the streets of Paris.
The complex feelings around this time are well delivered, right down to the ambiguous ending where we are not told how Antonie actually feels. The playing from Leaud is excellent and I only wish that more child actors would be like him; natural, confident, vulnerable and convincing in front of the camera. He is well supported by people like Remy, Maurier, Decomble and Flamant but the film is his and I was very impressed by his performance. Of course, aside from him the other star is Truffaut himself and as well as a cameo his direction is great, natural, intimate and painting a convincing world for this story to occur within.
Overall this is a small little film that succeeds in making the life of Antonie be very interesting and engaging. The plot may require the story to go beyond the day-to-day experiences of most of us did at that age but it is still emotionally involving thanks to a great combination of a superb and natural performance from Leaud, the direction of Truffaut and the great use of locations throughout.
While technology moves on and new things get invented everyday mabe not during the Corona Pandemic, but generally speaking , certain things seem to be ageless. Like the struggle to grow up. Especially if you don't have a family that is able to reign you in, to guide you I reckon. And school or class is not going to be able to do that either. Poor teachers I think often times - not all of them, but they've become second nature parents and not all are equipped to do that. Then again in other countries as I've learned recently they have much bigger issues.
But enough of that and back to this black and white drama of a boy, that takes teh wrong path. It does not happen immediately, you can feel and see the changes in him and his character.
The rebellion, the not knowing what is happening, but going for things he shouldn't A thought occurs to me as I read some of the other reviews for this film. Are some movies considered great because they made their mark during an earlier time when their form was considered new and daring?
What if the same movie were made today? Would they receive the same recognition? Another reviewer states that Truffaut makes the mundane entirely absorbing. Watching this movie today I came away thinking that it was pretty much just mundane. I really didn't get much out of young Antoine Doinel's Jean-Pierre Leaud plight except that he was a directionless kid who was headed the wrong way in life with no one to apply the brakes. There wasn't a single role model he could look to in order to keep him on a straight path, making his descent into delinquency unavoidable.
But did that really have to be? Another person in the same situation might have found a way to rise above those circumstances to be a stalwart student and a good citizen.
It does happen all the time, maybe not the norm, but it does happen. It's my understanding that this was a somewhat autobiographical treatment by Truffaut, so if his young life was marred by similar circumstances, then one would congratulate him for rising above that situation. But taking us through this exercise with no conclusion seemed like a pointless one to me. Intensely touching story of a misunderstood young adolescent Jean-Pierre Leaud who, left without attention, delves into a life of petty crime.
The film is among the top ten of the BFI list of the 50 films you should see by the age of It also happens to be one of the most influential films that has ever been made.
And I can see why! He meets his first love, Colette, in "Antoine and Colette". He falls in love with Christine Darbon in "Stolen Kisses". How Antoine is shown later in life may have one thinking differently of him in this child role Francois Truffaut made his mark on the cinematic world with "Les quart cents coups" called "The Blows" in English.
Semi-autobiographical, the movie tells the story of Antoine Doinel Jean-Pierre Leaud , a misunderstood schoolboy. Everyone hears rumors about him and assumes things about him. Finally, at the end of the movie, Doinel escapes from a seaside cottage and runs out to the shore, and an ambiguous future.
The movie was very well done in every aspect. The black and white helps to emphasize Doinel's somewhat dreary existence. I recommend this movie to everyone. Antoine spends the night in the police cell locked up with prostitutes, thieves and hardened criminals, and being interviewed by a judge his mother Gilberte Doinel Claire Maurier confesses that Julien is not the boy's biological father. This causes the young man to be placed with other troubled children in an observation centre near the shore, this is his mother's wish, and his unhappiness is brought out during his probing by a psychiatrist, and we see these troubles told in fragmented monologues.
Antoine is then one day playing football with the boys in the centre, and under the fence he manages to escape and reach the ocean, which he had always wanted to visit through his life, and the film freezes and zooms on the face of the boy as he looks directly into the camera. Good, in my opinion! Francois Truffaut's first feature, and like many first features it's semi-autobiographical. Well, there's nothing wrong with that. As Joyce advised, "Wipe your glosses with what you know.
One is that your first story, about yourself, doesn't turn you into a moral paragon. The second is that, having gotten that initial material out of your system, you have the industry and talent to go on to other things -- not necessarily less personal, but less heavily invested.
Truffaut managed to rise well above his beginnings. Jean-Pierre Leaud is the boy of about twelve who lives in a shabby and cramped apartment in Paris with a mother who, though she sometimes tries her best to act otherwise, doesn't really want him and never has. Leaud's father doesn't mind the kid, but things are tough.
Both parents work. The mother is being unfaithful and the father is distant. So Leaud begins to get into trouble at school. And what a run-down, working-class school it is. He writes graffiti, gets caught, gets punished, but seems to learn nothing from it, nor from forging a note excusing his absence by claiming that his mother has died. He winds up running away from home, stealing a typewriter, getting caught, and sent to an "observation camp" where he's subject to tough love and interviews by a social worker.
He runs away from the camp too and the last scene is of Leaud chugging along a wide strand, splashing through the tiny waves of icy sea water. Truffaut doesn't give Leaud easy excuses. He's gone through tribulations, certainly, but so have many of the other kids in his class. And at least Leaud wasn't sexually abused as a child -- the kiss of death in movies these days.
But his story isn't one of a born delinquent either. He takes no pleasure in destroying things or in hurting or disappointing others. He exploits nobody. And the parents themselves aren't evil or weak. Their foibles are recognizably human. Luc Andrieux Le professeur de gym as Le professeur de gym. Robert Beauvais Director of the school as Director of the school.
More like this. Watch options. Storyline Edit. Seemingly in constant trouble at school, year-old Antoine Doinel returns at the end of every day to a drab, unhappy home life. His parents have little money and he sleeps on a couch that's been pushed into the kitchen. His parents bicker constantly and he knows his mother is having an affair. He decides to skip school and begins a downward spiral of lies and theft.
His parents are at their wits' end, and after he's stopped by the police, they decide the best thing 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. Not Rated. 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 very end right as Antoine reaches the water's edge, the shadows of the crew can be seen on the sand and water.
Quotes Antoine Doinel : Dad, I need some money. User reviews Review. Top review. As the seminal work of the French New Wave, the directorial debut of 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 , 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.
Lightly comic, with a touch of the burlesque, Bed and Board is a bittersweet look at the travails of young married life and the fine line between adolescence and adulthood. Antoine Doinel strikes again! The newly single Doinel finds a new object of his affections in Sabine, a record store salesgirl whom he pursues with the fervid belief that without love, one is nothing.
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