400 Blows: Truffaut's Style

 In the 1959 film, 400 Blows, Francois Truffaut uses a variety of techniques to create a unique style. It is filmed in a deep focus, allowing all of the scene to be viewed. This places it upon the viewer to make the decision on where to focus their attention. Another important note about Truffaut's approach is that there is a use of long shots in order to capture a scene and the movements of subjects within the shot. This is prominent in the street scenes in which the main character, Antoine and his classmate are walking down the street, discussing what their next plan of action will be. These decisions strengthened the viewers ability to make sense of the Antoine's struggle in and outside of his family life.

400 Blows, 1959

When looking at this film, the director’s relies mainly on imagery rather than on dialogue. Because of this, there is an important stressor put on facial expressions. With that understanding, close ups also become prominent. For example, when Antoine’s parents are fighting Truffaut uses a close up of Antoine’s face to direct the viewer to how the main character is effected by the fighting rather than just on the argument itself. This is another example of how Truffaut directs the film in a way that isn’t focused on solely moving the plot along, but rather in strengthening the understanding of the characters in it.   



Truffaut used symbolism as a way of conveying Antoine's emotions without having them explicitly stated. For example, in a scene at home, Antione is seen combing his hair. In this shot there are three mirrors capturing his image. This is symbolic of how Antoine isn't sure of who he is yet or of his place in the world. His unsureness is thus seen in his actions that are troublesome, like stealing. With All this combined, Truffaut creates a complex view of his characters and setting in 400 Blows.