Les 400 Coups which is a 1959 French film directed by François Truffaut is highly impactful film. The protagonist, Antoine Doinel (Jean-Pierre Léaud), is a young Parisian boy who struggles with life. The theme of rejection is developed in the film Les 400 Coups through demonstrations of abandonment, neglect and unhappiness, conveyed through robust cinematography, strong narrative and a complementary musical score. Cinematography is highly effective in conveying the theme abandonment. The scene in which Antoine is being transported to the jail is a terrific example of Truffaut’s talent as a director. The camera stays in a static position as the van pulls away, allowing us to view the departure through a long shot, emphasizing displacement. …show more content…
The camera tracks the police van as the door closes, trapping the young boy from the city. The close-up of Antoine’s face, shot through the cell window, powerfully conveys pain. In Film Analysis, Alastair Phillip’s states the most devastating image of dislocation is when Antoine is taken away from the police station in the van. (563). Antoine is alone, and sad. There is no parent or friend rushing behind the van crying and yelling about how unjust or horrible the situation is. Additional support of parental abandonment is found when Truffaut reported, during an interview that was transcribed into the book, The 400 Blows a film by Francois Truffaut, with Andre Parinaud in 1959, that one of the emotional turbulences in the film’s theme is emotional weaning on the part of the parents (234). The use of close-ups, tracking and camera framing creates an impactful, emotional scene of isolation. Furthermore, abandonment is demonstrated in the opening sequence through a dramatic sequence of shots with informing composition. Anotine Doinel, is first introduced to us in the classroom setting. The camera zooms to a medium close-up him drawing on a pinup poster allowing the viewer to stop and absorb a sense of the lead character. Immediately the camera focuses on Anotine getting in trouble. He is directed, by his teacher, behind a large chalkboard were the compositions of the shot has his body obscured from view demonstrating segregation. He is being denounced from the classroom. Recess starts and the camera shows students rushing out to play. The camera transitions to a shot of the instructor pointing at Anotine and directing him to stay in class by himself. The sequence concludes with a shot were the camera focuses on the exit and ends with the door being closed, leaving Antoine alone in an empty classroom. This sequence of shots is demonstrating seclusion and exclusion. Truffaut’s use of different shot types combined with good composition effectively conveys abandonment. Neglect depicted through lack of parent involvement is rapid throughout the file.
Antoine is always home alone after school. The director establishes this by pulling away to long shots demonstrating the empty apartment. The police station scene were Antoine’s father is talking to the warden, demonstrates a relaxed calm father recommending that his son should be placed in a correction facility. Truffaut uses medium shots jumping between views of characters as they speak, allowing the viewer to ingest the unusually relaxed nature of a very serious situation. Georges Sadoul, French journalist and cinema writer, summarizes it articulately when he stated “Do his parents love him? They don’t understand him because they lack affection or lack time.” Through jump shots and different lengths shots Truffaut demonstrates the neglect of Antoine by his …show more content…
parents. Antoine’s life in not filled joy and pleasure.
Smiling is a mannerism we do not see from Antoine. Absence of smiling combined with solemn downward glances reinforces that Antoine is a troubled dissatisfied boy. Alan Singerman, author of the book French Cinema The Student’s Book states that unhappy adolescent is a theme that dominates the movie (240). Singerman provides evidence of the purposeful intent behind this achievement. Jean-Pierre Leaud was forbidden to smile on camera by Truffaut, to establish Antoine as an unhappy character (240). The only time we see him smile is when he skips school for the day and emotionally escapes his life on a spinning amusement ride. The director’s use of purposeful instructions of emotional expressions was impactful in the overall mood of the film. Narrative is an impactful component of this film and contributes to the themes abandonment, neglect and unhappiness. Dialogue such as “I realized that my mother did not care for me much; she was always on at me.” and “I found out that she wanted to abort me but grandma stopped her” strengthen the portrayal. The narrative allows us to know what occurred in the past. It gives use insight in Antoine’s feelings on his relationship with his mother. The narrative contributes to the communication of the
themes. The musical score composed by Jean Constantin supported the emotional portrayal of the films themes. The musical score added depth to the film through transitions in music it communicates to the viewer the emotional tone of the scene. During the transport to prison scene the signature musical score plays a reprised solemn version, while Antoine stares hopelessly with a glazed expression out the window. The change in musical reinforces that this is a sad time were Antoine is being isolated from his family, friends and society. Additionally, when Antoine is walking the streets alone and hungry the music plays slow and quietly. The tempo is collaborating that this is a sad time. Contemplative music played throughout the film has creates pondering about Antoine’s emotional state. It suggests that he is trying to come to terms with his life. The music speeds up and slows down to change the mood of the scenes, allowing the music to reinforce the emotions of the film. Francois Truffaut increased the depth of interpretation of a misunderstood adolescent boy with his ground breaking camera techniques, expressive narrative and accompanying musical score. Abandonment, neglect and unhappiness, conveyed through robust cinematography, strong narrative and a complementary musical score were combined in a breath-taking film. The theme of isolation was effectively conveyed through the subthemes of abandonment, neglect and unhappiness.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
He, however, seemed question his presence because the death of his mom or even from the absence of his father—the fairly dynamic that every child should have (both parents present). In chapter two Meursault found himself alone in his apartment as Marie had left for work earlier that morning. In this section he explains that, “After lunch I was a little bored and I wandered around the apartment” (21). In this quote, Meursault demonstrates just how meaningless is life is. To have nothing more to do with his time than walk around his apartment shows that Meursault is questioning his place in this world. He is a man with virtually only two friends—Raymond and Marie—and a neighbor that he associates with on occasion about his dog. As he wanders the apartment he explains that he lives, “in just one room now” (21), one that he literally put his dining table in so that he could eat in his room. This quote symbolizes his loneliness as a person. Not only is the apartment too big for him, the world is too, and his is basically alone in both. For some reason—maybe a tragedy or trauma that he faced in earlier years—Meursault has closed himself off from the world and does not express love for anyone or anything. In fact, Meursault made a statement about the death of his mother saying that, “at one time or another, all normal people have wished their loved ones were dead" (65). At this point in the story, I think that Meursault may not have had the best family dynamic. He does not speak of anyone else but Maman, and mentions a father that he does not know. So, he may not feel like he belongs or does not know how to. He also explains that, “it was one of Maman’s ideas, and she often repeated it, that after a while you could get used to anything” (77). This quote could explain the fact that Meursault is closed off—he has gotten so used to not having anyone around that truly cares for him (his
Maupassant, Guy De. “An Adventure in Paris”. The Norton Anthology of Short Fiction. Cassill, RV. New York: Norton & Company, Inc. 2000. 511-516 Print.
Presenting the story from a third person perception and having the narration by the mother or “Mama” gives the story great relevance to real life situations that ha...
...ough Maman’s funeral and the impact of Maman’s death on Meursault. In the first chapter, Meursault is disconnected from the world around him; only responding to the social customs set in place and showing awareness in why they should be followed, but he does not understand why that is the case. In the last chapter, the inevitable arrival of Meursault’s own death makes him aware that the life he lived meant nothing because things would be the same at the end despite what choies he made. This acceptance is reached because Meursault was guided through death. Thus, Maman’s funeral links Meursault and Maman together as two individuals who accept their despair-filled truth but demonstrate the willingness to live again because they carry that acceptance with them.
This story makes the reader wonder, why must parents do this to their children, what kinds of motifs do they have for essentially ruining their child’s life. I believe
The script’s opening image defines the film’s POV, by using the camera to subjectively identify our protagonist’s recent affliction as he awakens paralyzed from a stroke induced coma. Jean-Dominique Bauby, a.k.a. Jean-Do, is informed of his condition by the doctor. He is unable to respond to the doctor’s questions, which sets-up the conflict that he will struggle to communicate his thoughts throughout the script. As Jean-Do looks around his hospital room, we are informed by pictures and drawings beside his bed that he was a successful editor of a fashion magazine who led a comfortable and pleasurable lifestyle. There are images of his children alongside drawings that they have made for him. There is a sense of hopelessness and despair expressed through his interior monologue when he asks, “Is this life”? There are several unified themes stated in the opening pages of the script. First, there is a bell heard in the distance which informs the reader that our protagonist is trying to somehow communicate with others, but cannot do so throug...
“Then he explained that was what he needed advice about. He stopped to adjust the lamp’s wick, which was smoking. I just listened. I’d drunk close to a liter of wine and my temples were burning.[…]What bothered him was that he ‘still has sexual feelings for her.’ But he wanted to punish her” (31). Raymond tries the make the setting more comfortable as he adjusts the lamp’s wick, and has Meursault slightly drunk. When someone is drunk, his judgment is impaired. Thus, Meursault easily agreed to whatever is coming next. Raymond re-appeals to Meursault physical desires by claiming he still has sexual feelings for the woman they are discussing. This scene is significant because it illustrates how Raymond understands that Meursault has existentialist traits, thus, cannot be easily wowed by emotional desires but rather by physical ones. As the dialogue progresses, Camus’ conflict builds: “But Raymond told me he didn’t think he could write the kind of letter it would take and that he’d thought of asking me to write for him. Since I didn’t say anything, he asked if I’d mind doing it right then and I said no” (32). “I tried my best to please Raymond because I didn’t have any reason not to please him” (32). Taking advantage of the ambiguous response, Raymond gives Meursault the supplies to write the letter, thus, achieving his objective. “He stopped calling me ‘monsieur.’ It was only when he announced
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
The director, Truffaut, depicts the protagonist Antoine Doinel being served many different punishments of all forms throughout the film. The teacher makes him stand in a corner against his wishes, the teacher again makes him do more homework against his wish, and threatens to phone Doinel’s parents if he refuses to obey. The scene where the teacher administers the punishments at the beginning of the film. The punishments that the boy, faces become more pronounced and thorough as the film progresses. He is finally considered an offender and is placed in a home that hosts young offenders. This theme is brought out clearly ion the sense that the people in charge of Doinel’s upbringing consider his mistakes serious and punishable to that extent. The viewers might be sympathetic with him and feel that his mistakes do not warrant the nature and extent of punishments he is
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
The relationship shared by Pierre and Helene is best described as a lustful charade. It is no coincidence that Pierre, one of the most introspective characters in the novel, first marries a shallow, inwardly-ugly adulterer. His first recorded attitude towards Helene is one of admira...
As a result, the best and most efficient way to analyze this film is to compare and contrast two characters that are central to the theme of the film: Comte de Reynaud and Vianne
The first shot as Michel drives the getaway car through the France countryside is a twenty second POV shot. There are no establishing shots of the car driving through the country, there is no narrator to explain what is unfolding, only a POV from Michel’s perspective. In employing such a long and simple shot, the viewers feel the nonchalance of the drive as well as the improvised nature of the film. • Michel looks over his shoulder as he drives and announces “If he thinks he’s going to pass me in his bloody Renault!” The over the shoulder shot as Michel peers out of the window is like that of the view of a passenger in the car.
Analysis of Movie Moulin Rouge In this essay I will be analyzing in depth four scenes from Baz Luhrmann's critically acclaimed Moulin Rouge that was released in 2000. I will be analyzing the opening sequence, the sequence in the Moulin Rouge itself, the two dancing sequences 'Like a Virgin' and 'Tango Roxanne' and the final scenes of the film. Throughout this essay I will be commenting on the filming techniques that Luhrmann uses and what affects these have on the audience, also I will be analyzing how the film is similar and different to typical Hollywood Musicals.