The 400 Blows (Spine #5)

"Oh, I lie now and then, I suppose. Sometimes I'd tell them the truth and they still wouldn't believe me, so I prefer to lie." - Antoine Doinel

Remember what it was like to be a child, so full of ideas and possibilities, longing for not only the opportunity to break free, but also for that feeling of acceptance and approval in our endeavors? It's so easy as a child to be misunderstood, as well as neglected. This can lead to "acting out" and other such mischief, when a child does things that they know are wrong, but they just want to be noticed, to be accepted, and to be loved. Francois Truffaut's semi-autobiographical first film, "The 400 Blows", explores this idea, among many others, as well as brings about a cinematic style that is often heralded with bringing about the French New Wave film movement.

The title,"The 400 Blows", is a literal translation of the original French Title, "Les Quatre Cents Coups". This is in reference to a popular French phrase, "faire les quatre cents coups", which means "to raise hell" or "live life to its fullest", both of which could be used to summarize aspects of the film. This makes the title make a bit more sense, since the English translation "The 400 Blows" seems to almost insinuate a sense of corporal punishment, which although some harshness is displayed, the film is more about emotional attack and effect than anything physical.

Set in Paris, the film's focus is on 12 year old Antoine Doinel, portrayed with incredible ability by Jean-Pierre Leaud, who was all of 14 years old at the time. Antoine is a seemingly likeable and "grown up" young man who, as the movie continuously shows, longs for attention. His home life is that of squalor and little means, with a mother that could care less for him and an adoptive father that, aside from some joking and small attempts at bonding, is easily flustered and aggravated. At school, Antoine takes part in much the same shenanigans as all the boys in his class, but he is always the one getting caught in the act, thus making him out to be some sort of menance or nusance, very undeservedly. It's here, very early on, where one can see where the title comes into play. All the adults in Antoine's life think he is just out to "raise hell" and be a mischief-maker whereas Antoine, still young and full of dreams, just wants the most out of life. He loves film and longs to one day see the ocean and just seems to genuinely want to be happy and free.

After a few altercations with his teacher, Antoine and his best friend Rene' skip school one day, enjoying the sights the city has to offer. One of the most shocking sights for Antoine is seeing his mother, in the arms of a man that is not his father, thus cementing her as not just having no care for him but also none for their family as a whole. Rather than make a scene, Antoine continues on about his business and never speaks a word of what he saw to anyone. In the moment, though, his mother noticed him as well and there is an obvious understanding that Antoine knows what she's up to.

The next day at school, he makes up a pretty dastardly lie as to why he missed the previous day. Once the lie is exposed, he's immediately in even more trouble. His mother approaches him in a much more caring manner than she has so far seemed capable of. It definitely feels like a sort of bartering between Antoine and his mother. Her being nice and encouraging him in school in exchange for him being good, as well as not mentioning her indescretions that he is now aware of. The latter part is never discussed, but is very much implied.

To make his mother proud, he has a writing assignment that he must do his best on. Antoine, while reading, is deeply moved by a passage he finds in a book by Balzac. When he is in class, he hearkens back to what he read as inspiration. He tells his mother that he what he wrote will be the best paper and the whole family celebrates by doing Antoine's favorite activity, going to the cinema. When Antoine gets his paper back, though, it is revealed that rather than create his own writing, he simply wrote his beloved passage down word for word. Antoine, fearing letting down his parents again, decides to run away. Even amidst the harshness of the streets, the movie gives the sense that Antoine is genuinely happy. This builds a strange dichotomy between Antoine's obvious longing for attention but also him wanting to just be rid of everything that holds him back. This begins a transition within Antoine; a realization that even if he is all alone, it won't matter as long as he's free.

After a time, Rene' urges Antoine into breaking into his fathers place of work to steal a typewriter in hopes that they can sell it for more money. Anotine reluctantly follows through with it, but is against the idea the entire time. This shows a similarity as well as a great difference between the two boys. Rene', although from a much more wealthy family, is also a product of neglect. With his parents constantly coming and going, he's left to his own devices. When Antoine does something mischevious, it reeks of attention, but with Rene' it seems to just be out of sheer boredom. Unable to sell the typewriter, Antoine insists they return it, and in doing so he gets caught. His father is called in and, feeling as though Antoine has had enough chances, he turns him in to the police.

After a short stint in a juvenile detention center, Antoine is sent to a work center for young boys. They have daily routines and are given psychiatric evaluations. It's during Antoine's evaluation where a great deal of his backstory is revealed, ranging from his (almost) first sexual experience to his growing up. He was apparently raised mostly by his grandmother, with his mother wanting nothing to do with him. He even, at an even earlier age, heard his mother discuss how she should have had an abortion so that he wouldn't have been a concern. It's challenging knowing that this whole time Antoine has lived with this knowledge of his mother, yet still longer for her love. It shows the power the family bond can have, for better or for worse. It's not long before Antoine has finally had enough of this place and he makes his grand escape, culminating in one of the most satisfyingly visual endings to a movie that I have ever seen.

It amazes me that this was Truffaut's first film. It shows a more genuine side of Paris, far from the touristy aspects of most movies. At times it feels as though you are watching a documentary, and that feeling brings even more humanity to the film. Part of what sets it apart, and a constant running theme so far with the Criterion Collection, is the visuals. From an overhead shot of all the schoolboys breaking out of line as they walk through the city to a shot of Antoine in a spinning ride at the fair, to the final escape scene, the film just mesmerizes. There is an incredible moment filmed during a "punch-and-judy" puppet show that focuses on all the children's faces and there is just no way you can fake the looks they give. The scene is quick, but it's so genuine and innocent and makes one try to remember that time when you were young and loved the whole world and its possibilities.

Leaud, as mentioned earlier, brings so much to the character of Antoine. Charming nuances and an overall awareness of self and the story makes him all the more compelling. Truffaut was so taken with him that he has worked with the actor throughout his life, often with him playing the same role of Antoine as he himself grows. It's always amazing to me to see someone so young already have such talent. This line of thinking,though, is exactly the kind of thing the movie is addressing. An overall lack of attention towards the youth of today. We are challenged by the movie to not just immediately blame the child, but take a look at the childs surroundings and dealings and see that he/she is nothing more than a by-product of these things. We are also challenged to actually listen to the child and give him/her a chance for expression of thoughts and feelings, rather than simply being told the way things are going to be.

"The 400 Blows" is often cited as must-see cinema and I couldn't agree more. This movie brings about a true sense of themes and ideas and explores them in a way where the viewer is still left to make up his or her own mind. It appeals to the angst within all of us, and urges us to break free.

The Silence of the Lambs (Spine #13)

"Well, Clarice...Have the lambs stopped screaming?" -Dr. Hannibal Lecter

Where does one really start when summing up "The Silence of the Lambs"? It almost feels a bit redundant to even bother doing a review of this most beloved and revered film. So much of it has become a part of pop culture that even those that have never given it a second glance already have some sort of knowledge of it; a quote, a fleeting glimpse, possibly the memory of another film parodying an aspect of the film's narrative. No matter the situation or the company around you, saying the name "Hannibal Lecter" or "Clarice" will assuredly make a connection or elicit a response. The film, in it's almost 19 years of existence, has garnered countless praise and honors, took home all five of the big Oscars, has seen it's characters and the movie itself at the top of numerous "best-of" lists, and, as evidenced by this attempt at a review, even has its very own Criterion Collection edition, albeit out-0f-print(although still readily available in non-criterion formats). Some would say, all of this for just a simple horror film? That assumption is sadly that person's biggest mistake, as "The Silence of the Lambs", although portraying grim, true-to-life horror, is far more than just your standard horror film.

We begin the film with FBI Agent-in-training Clarice Starling (Jodie Foster) taking on what appears to be a bit of a daunting training exercise. She is pulled off the course to meet with the head of the FBI's Behavioral Science Unit. She is tasked with conducting an interview with reknowned, as well as incarcerated, psychopath Hannibal "The Cannibal" Lecter (Anthony Hopkins) in hopes that Lecter can help provide some insight into another killer that is on the loose, Jame "Buffalo Bill" Gumb (Ted Levine). Starling finds it odd that she is asked to do this, seeing as how she hasn't even become an agent yet, but is assured by the powers that be that is is due to her abilities and strength.

This begins one of the big themes of the movie, which is gender roles/reversal. There is a remarkable contrast in that our hero is a woman, not only trying to prove she belongs in a world overrun with men, but she is also tracking down a mad man that specificially targets women in such a way that empowers the "fragility" often associated with women. To have such a strong woman as the lead is an excellent contrast to this stereotype, and makes her journey even more compelling. Another thing that I had honestly never noticed in other viewings of this film is how almost every man Starling comes into contact with is immediately infatuated with her. It's hard to tell if it's because she is often the only woman in the room, or if it's that she is a woman in a station of power and respect. Whatever the reason, it helps add another layer to this already dense and fascinating story.

Having accepted her assignment, Starling has arrived at the mental hospital where Lecter is kept. Lecter was at one time a respected pscyhiatrist who was convicted of not just murder, but of eating various parts of his victims. As the camera follows Starling through the cells and Lecter comes into frame, something about him is immediately fascinating. Before he even utters a single word, you find yourself already wanting to know everything about him, but there's also a fear associated with knowing those same things. This is a true testament to Hopkin's portrayal of Lecter. He exudes this all-knowing personality coupled with genuine menace. It's genuinely haunting and proves to be one of the best aspects of multiple viewings; trying to pick apart Lecter's nuances, to try and "figure him out", so to speak.

Lecter and Starling seem to get off to a good start, including the reveal from Starling that "Buffalo Bill" got his nickname from the fact that he likes to skin random parts of his victims, all overweight females. As they are talking, Starling jumps right to her business at hand, offending Lecter and his initial appreciation of Starling. As she begins to leave, another inmate humiliates her in a surprisingly perverse way. Hannibal immediately changes his demeanor, calling Starling back to him and giving her his first in a line of riddles to set her on her way of solving the case.

As Clarice's search begins, "Buffalo Bill" has struck again, this time abducting a senator's daughter. This puts a timetable on catching "Bill", as his M.O. has each girl living about three days before he mutilates and murders them. This adds another layer of tension to the film, as one layer had already been established between Lecter and Starling's interactions. The FBI use this kidnapping to their advantage and offer Lecter a chance to be transferred to a more preferable facility if he will willingly help them catch "Buffalo Bill" and save the senator's daughter. Lecter's doctor, and supposed nemesis, hear's this proposed plan, exposes it as a lie and makes his own genuine bargain with Lecter and the senator, not only thwarting the FBI's plan but nearly taking them out of the equation alltogether.

As part of the deal, Lecter is transferred to Memphis and reveals a description and a name to federal agents that are now working on the case. He is then held in a makeshift prison while awaiting his complete transfer. Starling shows up and demanding the truth from Lecter, feeling that everything he has given her has been lies. Lecter refuses her demands, instead insisting that she elaborate on a traumatic incident from her childhood, which is also where the title of the film is derived. This scene between Lecter and Starling is cinematic gold. If there were a single moment to cite as why both actors deserved the acclaim they get for these roles, this is it. Starling recounting her childhood trauma allows her to shed the strong persona she's been carrying the whole movie. At the same time, we see Lecter hanging on her every word, waiting for each new detail she reveals. She has become his fascination, whereas he has been hers almost the entire length of the movie up to this point. A truly classic scene.

Starling is soon run off by the local police, but not before retreiving her case files on "Buffalo Bill" from Lecter, complete with one last clue pointing her in the right direction. This also sets up Lecter's incredibley executed and gratuitously violent escape from his confinement. Heads are bashed, faces are bitten, insides are let free, and the ultimate reveal is something that is completely shocking and, in other circumstances, would be seen as grotesque and repulsive. By this point in the movie, though, the movie has succeeded in making the viewer "like" Hannibal Lecter. For all intents and purposes, he's not the actual bad guy of the film. In fact, he even aids in the capture of the true villain of the film. Not to say that the mass killing and eating of people is condoned in any way, but it creates a sort of moral ambiguity where you are compelled to forgive this character his actions simply on the basis that you can't get enough of him. Even more compelling is Lecter's association with the movie, given that it has a 2 hour run time, and he's only in about 24 minutes of it.

With Lecter now escaped, Starling is left to try and put the pieces together and stop "Buffalo Bill". While investigating aspects of "Bill's" first victim, Starling stumbles upon an incredible find in the case . She contacts her department head to relay the information, but he informs her that they have found their man and are en route to apprehend him. Starling continues on with her search, and the movie uses some clever editing in getting us to the final setup and scene. I'll refrain from spoiling the ending on the off chance someone reading hasn't seen it, but rest assured the tension and suspense elevates to a whole new level and has a truly satisfying end.

One aspect of the movie that I haven't mentioned much is the villain himself, Jame "Buffalo Bill" Gumb (Ted Levine). He is portrayed as everything you see or hear about serial killers, actually being partly based off of three of the most notorious ones: Ed Gein, Ted Bundy and Gary Heidnick. He's portrayed as a weirdo; a gender-confused transvestite that collects and cultivates a particular type of moth that ties in to his murder victims. He's also shown as a predator, plotting and taking advantage of whomever he has his sights on. Although "Bill" is an awful man, the true villain, and definitely able to instill his own brand of fear in the viewer, he fails to be as compelling as Lecter. Most of the movie actually revolves more around "Bill's" crimes and catching him more than the man himself, which is a shame as Levine really gets into the role and makes the most out of what little screen time he has.

"The Silence of the Lambs" is a film that is truly as good as it gets. Boasting a stellar cast at the very top of their game, coupled with a story that delivers on its straightforward narrative, along with pulling in and exploring multiple themes as well as crossing over several genres, "The Silence of the Lambs" is a film that is impossible to pigeonhole, although it is often just lumped into "horror". I urge you to watch it with a diferent set of eyes, and take in everything this fine film has to offer.