Blows – freeze frame interpretation – cinemaoceania
François Truffaut's debut feature, Les quatre cents coups or The The camera zooms in on his face, showing the freeze-frame of Antoine. the ending of story is so abrupt as it only shows Antoine face frozen in front of the camera. . It somehow makes a relationship between the school boys and the. The Blows is a French New Wave drama film, shot in DyaliScope and the debut by Antoine Doinel in the final scene The film concludes with a freeze-frame of Antoine, and the camera optically zooms in on his face, looking into. ScreenPrism: Why does Blows () end on a freeze frame? in the French New Wave is reorienting the relationship between the artist.
This is the place where Antoine longs for and it somehow simplifies the freedom of him to escape from the predicament that he have. The camera pans from left to right, revealing the seashore bit by bit, and it finally cut to the wide shot of the sea.
Antoine turns to stare at the camera and the camera freeze on his face, with the puzzled look. It may signify he has no idea about how his life is going to be.
The Blows - Wikipedia
The final part is immense with emotions where Antoine is all alone. This is the scene where the director uses the long takes to shoot the landscape of the seashore also.
The freeze frame on Antoine at the last part of the scene. It can be used as a reminder that they are watching the films, and also to suggest the less important part of the film. We can find the most significant use of jump cuts in this film from the scene where the psychologist is asking Antoine questions. Antoine answers a series of questions but we never see the psychologist. The jump cut is odd as it does not link in between.
It then cuts to his father whom left the police station and the shot is cut back to the situation where the police officer is typing the report. It is sort of like reminding us that we are watching the film. Filming Antoine from the side denies us a direct identification with him and places us, like the director, as spectators of his life.
The profound melancholy of this sequence is thus two-fold: In this take, the whistling of the football coach, signifying rules and their transgression, is replaced by the chirping of birds, suggesting freedom.
In the next take, after a crossfade denoting a ellipsis, extra-diegetic music is added to accompany a long left pan of the fixed camera from Antoine running down a hill to the landscape of the beach. And yet, the convoluted strings stand in contrast with the underwhelming flatness of the landscape, and the dissonance heard suggests a potential deception.
Ask the Professor: Why does “400 Blows” end on a freeze frame? What was influential about it?
When Antoine re- enters the frame after the pan is over and looks over to the sea, he appears very small in comparison with the trees and the vastness of the beach: Desperation however makes way for pure melancholy in the next take where the sole notes of an oboe are heard as Antoine walks down the concrete stairs then runs towards the beach, filmed in three-quarters in a long tracking shot. What was influential about this choice?
I can see why people were upset by it at the time. It's an audacious thing to do because one of the contracts between an audience and a director and the other people who make the film is resolution.
The end of The Blows is a resolution, but it's not the one that you're supposed to get from a coming-of-age story. A coming-of-age story is supposed to chart the passage to adulthood, and this story just ends.Les 400 Coups (Scène Finale)
It's almost saying, your life is over now, you're old enough, and you've learned whatever lesson you were supposed to learn. The Blows is ongoing.
400 Blows – freeze frame interpretation
It basically says — again more truthfully — that this is the end of this chapter. I'm sure Truffaut didn't plan to make sequels when he made The Blows.
What the filmmakers are trying to say is: This is the conclusion of this experience that the director had and the actor had — the portion of their lives that this reflects.
In the last shot of Antoine running along the beach, it's not that he wants to see the beach; it's that his mother says that he wants to see the beach. So when he gets to the beach, is it because his mother said, You should go look at that, or this is what he wants? He gets there, and now what? But that's often what happens and how life goes.