In Les Quatre Cents Coups and all subsequent films from the ‘Antoine Doinel’ Cycle (Antoine et Colette, Baisers Volés, Domicile Conjugal, Amour en Fuite), our hero is almost always looking out for love, life, fulfilment, almost always coming up short. He stands out from all these names for two reasons: the famous 1954 article, which inspects with great detail all that is wrong with the traditionalist French cinema of the age (le cinéma de papa), and the fact that he succeeded in becoming a mainstream director while holding onto his revolutionary beliefs expressed in the 1954 article. I did not know anything about Les Quatre Cents Coups or Francois’ films. The original title, Les Quatre Cents Coups, which means ‘to raise hell’ or ‘to get into mischief’, has been, unfortunately, translated ad litteram, robbing the non-French speaking world of the context before introducing us to the world of Antoine Doinel. Gosh when I saw Les Quatre Cents Coups I wanted to just reach through the screen and hug him hard. I respectfully disagree. Truffaut a ainsi l'occasion de peindre trois états, trois âges, de la femme : convoitée et vouvoyée (Baisers volés), mariée et trompée (Domicile conjugal), divorcée mais amie (L'Amour en fuite). It is a timeless, semiautobiographical film that transports the viewer to that moment of one’s youth when, not yet grown up, no longer a child, one starts to understand life and its injustices, but one hasn’t got the independence to fly away from the nest. Utilisant de nombreux flashbacks, Christine et Colette, qui se rencontrent, se souviennent du passé. He championed cinema, plain and simple, with unabated enthusiasm and love for his craft. Harold. Truffaut is missed and so loved. Truffaut joue de sa ressemblance avec l'acteur, utilise les lieux de son enfance et va même jusqu'à projeter d'épouser Claude Jade. Finalement c'est avec Liliane qu'il trompera Christine… Antoine et Christine Doinel sont le premier couple à divorcer par consentement mutuel, ils restent amis. It captured human sensibilities and emotions with force, imagination and pathos and succeeded in cementing Truffaut’s name alongside that of his heroes: Luis Buñuel, Ingmar Bergman, Robert Bresson, Roberto Rossellini. Thank you! What is the place of psychological horror and thriller in a world gone ‘mad’? He is a great actor. His escape marks his complete rebellion against a cruel system. Jean-Pierre Léaud is absolutely brilliant, as a child and adult. Les aventures d'Antoine Doinel, Jean-Pierre Léaud aidant, permettent souvent d'identifier le cinéaste au personnage principal bien que Truffaut s'en défende. Christine Darbon laisse une trace ineffaçable dans l'œuvre de Truffaut : c'est un personnage qui ne dévoile jamais vraiment ses émotions, dont le sourire triste est la seule arme pour combattre la cruauté de Doinel et dont le regard doux cache difficilement une blessure intérieure. His status as second class citizen in the familial universe is confirmed when the mother comes home from work one night, opens the kitchen door and steps over her sleeping son to get to the main rooms of the house. His self-preservation mechanism kicks in, not allowing him to sulk or be unhappy, but take his mother’s rejection at face value and make the best out of a terrible situation. Antoine Doinel, the character of Les Quatre Cents Coups, somehow remains stuck in the psyche of the audience as the eternal teenager, leading fulfilling yet unfulfilled lives, growing old but never truly growing up. His best friend, René, is the only one who understands him and tries to help, since he himself is another victim of neglectful parenting. He has no formal education nor is he street smart and thus he has no foundation for what can be only perceived as pseudo-arrogance, which stems from his chronic fear of rejection.