Watch for French New Wave characteristics in the film. What are some of the over arching themes? Describe the music and film techniques used. What specific moments stood out to you?
April 8, "Even today when I hear an adult reminiscing regretfully about his childhood, I tend to think that he has a very poor memory. The product of a broken home, the young Truffaut never knew his real father and did not have a particularly good relationship with his step-father, either.
Not surprisingly, his childhood years were a troubled and unhappy time for him. The military inevitably caught up with him, and Truffaut subsequently spent a great deal of time in military prison. The story might well have ended in this forgettable manner for the troublesome teen.
But, in this darkest chapter of Truffaut's youth, a savior appeared who would alter the course of Truffaut's life and guide him towards a brighter destiny. His articles were very sophisticated and wise far beyond his years. It was once remarked of his reviews, "he writes like he's in his nineties," truly remarkable praise for a man only in his thirties.
Bazin was also a charitable humanitarian and assisted many throughout his life. In Truffaut, he somehow perceived the potential for something better than the young delinquent's current lot in life. Through Bazin's efforts, Truffaut was liberated early from his prison sentence, a benevolent deed which Truffaut never forgot.
Truffaut gradually came to regard Bazin not only as a mentor but almost as the father he never had. Encouraged by the film critic, Truffaut in the early 's began to develop his long-time interest in cinema.
As a critic, Truffaut was known for being direct and sharp-tongued. In his reviews, he would express great admiration for the works of Jean Renoir and Alfred Hitchcock while displaying his increasing distress over the current state of the French film industry.
In a sense, it marked the initial conception of the New Wave, a film movement whose bold and expressive language would take the cinematic world by storm only a few years later.
Truffaut's article also expounded upon an idea first developed by Bazin, la politique des auteurs the policies of authors.
Truffaut felt that films at the time were dominated too much by their writers, and that a film's aesthetic value was often erroneously judged by the extrinsic importance of its Big Theme social consciousness, racial injustice, human plight, etc.
For the auteur theorists, the true merit of a film was not in its theme or subject matter but rather in the film's treatment of that subject matter. This auteur theory, very simply put, submitted that the director was the predominant creative force behind his film and that the writer's contribution was essentially neutral.
With this mindset, it was not long before Truffaut decided to put his beloved theories into action and to try his own hand at filmmaking. His initial directorial efforts in the mid's were one-two reelers, interesting if not especially lengthy.
But for the next several years, Truffaut would carefully learn the craft of moviemaking, further honing his skills by assisting the Italian neo-realist director Roberto Rossellini.
Truffaut anticipated the day when he would be able to unveil the personal form of cinema for which he had long implored. Inat long last, that day arrived.
In its initial release, The Blows completely galvanized French cinema. In fact, from its realistic portrayal of adolescents, unparalleled in earlier films or rarely since!
The film's unusual title was a reference to a French colloquial expression whose essence, roughly translated, meant to raise hell, which was of course what the film's central character did quite often.
On an interesting note, Truffaut's original title for the film had been Antoine's Fugue, but the eventual title more imaginatively captured the free, new spirit of the film. For the film's central protagonist, Truffaut created the memorable character of Antoine Doinel.
Antoine was a hell-raiser, and many of his misadventures in The Blows were drawn from similar, painful events in Truffaut's own childhood. Truffaut's truancies, his uncomfortable home environment, his detainment at an obedience center for minors - these experiences and others were reprised in the film.
Even a scene in which Antoine glimpses his mother's clandestine lover recalled a similar event from Truffaut's youth.
For its time, the semi-autobiographical approach of The Blows was quite revolutionary and offered a degree of frankness not previously seen before in movies. This honesty, in addition to the film's lack of sentimentality, melodrama, or pretentiousness, was at the very heart of Truffaut's ideal of the personal cinema.Film Terms Glossary: Cinematic Terms: Definition and Explanation: Example (if applicable) fade: a transitional device consisting of a gradual change in the intensity of an image or sound, such as from a normally-lit scene to darkness (fade out, fade-to-black) or vice versa, from complete black to full exposure (fade in), or from silence to sound or vice versa; a 'fade in' is often at the monstermanfilm.com · The film Blows is very unique film, and it still hold up to today's standards.
Interesting, difficult, and very much real underlying tones set the mood for the movie and send an uncomfortable feeling to the monstermanfilm.com://monstermanfilm.com HOTLINKS: MISCELLANEOUS SCIENCE FICTION/FANTASY/HORROR FILMS My Competitors: other websites of film lists X-Rated Sci-Fi/Fantasy Videos Sci-Fi Attacks on Los Angeles See also TIME TRAVEL: MOVIES AND TV-MOVIES ABOUT TIME TRAVEL OR TIME-LOOPS, below.
· These men of cinema valued the expression of the director's personal vision in both the film's style and script. is traditionally (but debatably) credited as the first New Wave feature.
Truffaut, with The Blows The cinematic stylings of French New Wave brought a fresh look to cinema with improvised dialogue, rapid changes monstermanfilm.com · The Blows (Les Quatre Cents Coups, ), written and directed by Francois Truffaut, stands as a landmark film in several respects – in particular because it marked, along with Le Beau Serge () and Breathless (À Bout de Souffle, ), the beginning of the monstermanfilm.com · Director Claude Barras makes a stop-motion feature debut worthy of "The Blows" with the Oscar contender from monstermanfilm.com://monstermanfilm.com