I first saw this film around three or four years ago for the first time. I had watched it late at night, and I was very sleepy after it ended. I was rather ambivalent towards it. To tell you the truth, I don't know whether I had even heard of it before I rented it. And I don't even remember if it was my first film by Francois Truffaut, either. I have seen two others, The Green Room, which I didn't like all that much, and Shoot the Piano Player, which I loved. My guess would be that I saw The Green Room first, then looked up what else Francois Truffaut had made, and which ones were considered his better films.
Anyhow, by some route I rented The 400 Blows, and, as I said above, it left me unaffected. I went to bed afterwards without thinking much about it. It was only a couple of months later that I realized how good it was. The memories came flooding back one day when someone mentioned it to me. I have had similar experiences with La Dolce Vita and Casablanca, among others. As I thought more and more about it, I realized just how great it was.
Still, I never went back to it until now. I am strange in that way. There are some movies, some of which aren't even that good, that I will watch over and over again, alone or with friends. There are other films which I know are great, but that I never feel I have time to revisit them (there are always more films to be watched). The 400 Blows is one of those films, unfortunately. I don't know why. I have even considered purchasing it several times. I never did. So when I saw it tonight, it was like seeing something brand new.
I remembered only a few of the most memorable scenes: the carnival ride (followed by Antoine catching his mother with a strange man), the whole Balzac sequence, the psychologist's interview, and, of course, the famous final shot, the freeze-frame of Antoine Doinel looking into the camera. After this time, I will probably remember everything a lot better and a lot longer. The first time, when I was ambivalent, I had time to forget before I finally grabbed hold of those fading memories.
Why is this film special? Because it is the perfect example of childhood caught on film. I don't think there is anyone who could watch it without thinking that it rings true. Every piece of film that deals with a similar subject falls behind this one. The only one that I can think of that comes anywhere near is Federico Fellini's _Amarcord_. Jean Vigo's _Zero for Conduct_ is also very interesting, and probably influenced this film a lot (I know Truffaut was familiar with it, but that may not have been until after this film came out). Antoine Doinel is such an endearing character. I hope that sometime soon I can procure and see his other filmic exploits. And I really need to see more Truffaut in general. I'm far behind with him. Well, The 400 Blows deserves a 10/10, no doubt. It is easily one of the best films ever made, and one of those films that any knowledgable person would include it in a list of films that are absolutely necessary for a student of film.
Anyhow, by some route I rented The 400 Blows, and, as I said above, it left me unaffected. I went to bed afterwards without thinking much about it. It was only a couple of months later that I realized how good it was. The memories came flooding back one day when someone mentioned it to me. I have had similar experiences with La Dolce Vita and Casablanca, among others. As I thought more and more about it, I realized just how great it was.
Still, I never went back to it until now. I am strange in that way. There are some movies, some of which aren't even that good, that I will watch over and over again, alone or with friends. There are other films which I know are great, but that I never feel I have time to revisit them (there are always more films to be watched). The 400 Blows is one of those films, unfortunately. I don't know why. I have even considered purchasing it several times. I never did. So when I saw it tonight, it was like seeing something brand new.
I remembered only a few of the most memorable scenes: the carnival ride (followed by Antoine catching his mother with a strange man), the whole Balzac sequence, the psychologist's interview, and, of course, the famous final shot, the freeze-frame of Antoine Doinel looking into the camera. After this time, I will probably remember everything a lot better and a lot longer. The first time, when I was ambivalent, I had time to forget before I finally grabbed hold of those fading memories.
Why is this film special? Because it is the perfect example of childhood caught on film. I don't think there is anyone who could watch it without thinking that it rings true. Every piece of film that deals with a similar subject falls behind this one. The only one that I can think of that comes anywhere near is Federico Fellini's _Amarcord_. Jean Vigo's _Zero for Conduct_ is also very interesting, and probably influenced this film a lot (I know Truffaut was familiar with it, but that may not have been until after this film came out). Antoine Doinel is such an endearing character. I hope that sometime soon I can procure and see his other filmic exploits. And I really need to see more Truffaut in general. I'm far behind with him. Well, The 400 Blows deserves a 10/10, no doubt. It is easily one of the best films ever made, and one of those films that any knowledgable person would include it in a list of films that are absolutely necessary for a student of film.