The 400 Blows (1959)

Last updated:
October 30, 2025

The 400 Blows (Les Quatre Cents Coups) is a landmark in French cinema, directed by François Truffaut. It’s the first film in Truffaut’s Antoine Doinel series and one of the defining works of the French New Wave. Deeply personal, it portrays the struggles of adolescence, alienation, and rebellion in post-war Paris.

Table of Contents

Detailed Summary

A Troubled Childhood

The story follows Antoine Doinel (Jean-Pierre Léaud), a misunderstood 13-year-old boy living in Paris. His parents neglect him—his mother is cold and distant, and his stepfather is indifferent but occasionally affectionate. Antoine struggles at school, constantly clashing with his teacher, and finds solace only in small rebellions and escapism.

The Slide Toward Rebellion

After being falsely accused of plagiarism, Antoine begins skipping school, lying to his parents, and spending time with his friend René. Their adventures around Paris—visiting the cinema, stealing, and drinking—are both liberating and tragic, showing Antoine’s yearning for freedom.

The Pinocchio Moment

One of the most striking moments occurs when Antoine lies about his mother’s death to excuse his absence from school. The lie spirals out of control, leading to an even greater rift between him and his family. Later, he catches his mother kissing another man, adding to his sense of betrayal and disillusionment.

The Theft and Consequences

Desperate for escape, Antoine steals a typewriter from his father’s workplace to sell it for money. When he fails to get rid of it and tries to return it, he’s caught and handed over to the police. This moment marks the turning point: his parents give up on him, and Antoine is sent to a juvenile detention center for delinquent boys.

Life at the Juvenile Center

At the center, Antoine endures harsh treatment from the staff and is interrogated by a psychologist in one of the film’s most famous scenes—a long, single-take conversation that feels raw and unscripted. He reveals his confusion about life, family, and authority, showing a child trapped between rebellion and vulnerability.

Movie Ending

In the film’s haunting conclusion, Antoine escapes from the detention center during a football game. He runs through fields, over fences, and toward the sea—a symbol of freedom he has only dreamed of. The camera follows him breathlessly, reflecting his desperate attempt to break free from everything that has confined him.

When he finally reaches the ocean, he stops, exhausted, staring out at the endless water. For the first time, he’s face-to-face with something truly vast and unknown. The film ends on a freeze frame of Antoine’s face, looking directly into the camera. It’s ambiguous, emotional, and unforgettable. Is he finally free? Or is he realizing that escape doesn’t guarantee happiness? Truffaut leaves that question open, forcing the viewer to reflect on Antoine’s uncertain future.

Are There Post-Credits Scenes?

No, The 400 Blows does not have any post-credits scenes. The film ends definitively with the iconic freeze frame of Antoine at the seaside. Truffaut intended this moment as the emotional climax and philosophical punctuation mark of the story.

Type of Movie

This film is a coming-of-age drama and a cornerstone of the French New Wave movement. It blends realism, improvisation, and poetic imagery to depict the loneliness of youth and the failure of societal institutions.

Cast

Jean-Pierre Léaud as Antoine Doinel
Claire Maurier as Gilberte Doinel (Antoine’s mother)
Albert Rémy as Julien Doinel (Antoine’s stepfather)
Guy Decomble as the teacher (“Petite Feuille”)
Patrick Auffay as René, Antoine’s best friend

Film Music and Composer

The music was composed by Jean Constantin, whose melancholic yet playful score captures the film’s dual tone of innocence and sadness. The main theme, with its whimsical melody, underscores Antoine’s restless spirit while hinting at his inner turmoil.

Filming Locations

Paris, France – The entire film was shot on location across Paris, especially in the Pigalle and Montmartre districts.
The use of real streets, schools, and apartments gave the film its sense of realism and intimacy.
The seaside ending was filmed in Villerville, Normandy, chosen for its raw, open landscape that symbolizes Antoine’s final confrontation with freedom.

Awards and Nominations

Cannes Film Festival (1959) – Won Best Director (François Truffaut) and OCIC Award
Academy Award Nomination (1960) – Best Original Screenplay
Widely regarded as one of the greatest debut films in cinema history and ranked highly in numerous critics’ polls.

Behind the Scenes Insights

The film is semi-autobiographical, based on Truffaut’s own troubled youth.
Jean-Pierre Léaud was only 14 when he played Antoine; his natural performance helped define the archetype of the rebellious youth.
The freeze-frame ending was a last-minute creative decision by Truffaut—it wasn’t planned in the script but became one of the most iconic endings in film history.
The long interview scene with the psychologist was partially improvised, showcasing Léaud’s real emotions.
Truffaut cast many non-professional actors to maintain authenticity.

Inspirations and References

Inspired by Truffaut’s own life experiences, particularly his time in reform school and his passion for cinema.
The title, Les Quatre Cents Coups, is a French idiom meaning “to raise hell” or “to live wildly.”
The film also pays homage to directors like Jean Vigo (Zéro de conduite) and René Clair, both of whom influenced Truffaut’s vision of poetic realism.

Alternate Endings and Deleted Scenes

Truffaut originally considered showing Antoine’s life after escaping the detention center, but he decided to end with the seaside scene to preserve the film’s ambiguity. A few scenes were cut for pacing, including longer sequences of Antoine wandering Paris and more time with his friend René.

Book Adaptations and Differences

The 400 Blows isn’t adapted from a book, but it inspired later novels and analyses about Truffaut’s semi-autobiographical “Antoine Doinel cycle.” The character reappears in later films (Antoine and Colette, Stolen Kisses, Bed and Board, Love on the Run), exploring his adulthood.

Memorable Scenes and Quotes

Key Scenes

Antoine skipping school and riding the Rotor amusement ride, feeling pure joy.
The sequence of him and René exploring Paris—youthful rebellion at its most poetic.
The police van scene: Antoine’s silent car ride through the night as he’s taken to the station.
The final beach scene, ending with the freeze frame.

Iconic Quotes

Antoine: “My mother’s dead.” (His desperate lie that changes everything.)
Psychologist: “Do you ever think of running away?”
Antoine: “All the time.”
Antoine: “I’m innocent! It’s not fair!”

Easter Eggs and Hidden Details

The movie’s classroom scene includes children drawing a portrait of Balzac, Truffaut’s favorite writer—symbolizing Antoine’s literary aspirations.
Posters of Charlie Chaplin and cinema ads in the background reflect Truffaut’s own love for film.
The name “Doinel” was inspired by a family Truffaut knew as a boy.

Trivia

The film’s budget was modest, but it launched the French New Wave internationally.
Truffaut dedicated the movie to André Bazin, his mentor and co-founder of Cahiers du Cinéma, who passed away during production.
The freeze-frame ending was revolutionary—it was later used by many filmmakers as a storytelling technique.
The title was mistranslated in English; it doesn’t mean “400 punishments” but rather “to live without restraint.”

Why Watch?

Because The 400 Blows is not just a movie—it’s an emotional experience. It captures the pain of adolescence, the search for belonging, and the frustration of being misunderstood. Its naturalistic direction, intimate performances, and human honesty make it timeless. For anyone who’s ever felt trapped or unheard, Antoine Doinel’s story resonates deeply.

Director’s Other Movies

Jules and Jim (1962)
Fahrenheit 451 (1966)
Stolen Kisses (1968)
Day for Night (1973)
The Last Metro (1980)

The 400 Blows (1959)