Jean-Pierre Léaud
Antoine Doinel
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The 400 Blows ( French: Les quatre cents coups) is a 1959 French coming-of-age drama film, [3] and the directorial debut of François Truffaut, who also co-wrote the film. Shot in the anamorphic format DyaliScope, the film stars Jean-Pierre Léaud, Albert Rémy, and Claire Maurier. One of the defining films of the French New Wave, [4] it ...
- François Truffaut, Georges Charlot
- Jean Constantin
- 4 May 1959 (France)
The 400 Blows: Directed by François Truffaut. With Jean-Pierre Léaud, Claire Maurier, Albert Rémy, Guy Decomble. A young boy, left without attention, delves into a life of petty crime.
- François Truffaut
- 257
- 1 min
Aug 8, 1999 · I am not at all interested in anything in between. -- Francois Truffaut. Francois Truffaut's "The 400 Blows" (1959) is one of the most intensely touching stories ever made about a young adolescent. Inspired by Truffaut's own early life, it shows a resourceful boy growing up in Paris and apparently dashing headlong into a life of crime.
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Sep 21, 2022 · “The 400 Blows” has two stars. One is the then-14-year-old Jean-Pierre Léaud, who plays Truffaut’s alter ego, Antoine Doinel, and thus began a career as the embodiment of the French new wave.
The 400 Blows, French film drama, released in 1959, that defined the New Wave cinema movement created by young French directors in the late 1950s and ’60s. It was the first film in François Truffaut ’s acclaimed Antoine Doinel series, which followed a character widely considered to be the director’s alter ego.
- Lee Pfeiffer
The 400 Blows (1959) The 400 Blows (1959) View more photos Movie Info. Synopsis For young Parisian boy Antoine Doinel (Jean-Pierre Léaud), life is one difficult situation after another ...
- (71)
- Crime, Drama
François Truffaut’s first feature is also his most personal. Told from the point of view of Truffaut’s cinematic counterpart, Antoine Doinel (Jean-Pierre Léaud), The 400 Blows (Les quatre cents coups) sensitively re-creates the trials of Truffaut’s own childhood, unsentimentally portraying aloof parents, oppressive teachers, and petty crime. The film marked Truffaut’s passage from ...
