Produced by Maurice McEndree
Cinematography by Erich Kollmar
Editing by John Cassavetes and Maurice McEndree
Production design by Randy Liles and Bob Reeh
Music by Shafi Hadi and Charles Mingus
Starring Lelia Goldoni, Ben Carruthers,
Hugh Hurd, and Anthony Ray
It's also interesting because it basically voids the fuss that was the latest movement in French cinema. This movie has all that was admired about the "nouvelle vague", or "French new wave", but what makes it cooler, or more important, is that its raw presentation does not necessarily exist because of any stylistic manipulation. It exists because this was the best the cast and crew could do, this is the sum achievement they could afford with the money they had. The viewer can feel this, and that makes the viewing ever more intriguing!
It's also ground-breaking in it's prominence of black characters, and it's frank depiction of racial strife. It takes up where the "Imitation of Life" movies left off. Some of the acting and situations may feel unrealistic or a touch off-key, but that is not enough to keep the true gold-hungry viewer away, especially since this adds to the rough vitality of the whole. And finally, the jazz score is as brilliant as it is melancholy.
Les quatre cents coups
Written by François Truffaut and Marcel Moussy
Music by Jean Constantin
Cinematography by Henri Decaë
Editing by Marie-Josèphe Yoyotte
Set decor by Bernard Evein
Starring Jean-Pierre Léaud, Patrick Auffay,
Claire Maurier, Albert Rémy,
and Guy Decomble
The way it was recorded is amazing to comprehend. The bird's eye shots, the intimate zoom-ins, the running, the swirling and swooning. It's like the camera is a second Antoine, a wiser Antoine, maybe an older Antoine and his real best friend. We connect to the camera perspective in a way that we don't in most movies, because it feels like an invisible, unmentioned character. The sets and acting, even by the supporting actors and extras feel more real than most movies I've seen, which makes it feel sometimes documentary, and thus underlines that we are witnessing the truth, Doinel's truth.
The title translates from French to "The four hundred blows".