I think Truffaut took a risk with this long take because some viewers might become alienated by watching Antoine run for such a long time. Certainly, it's not something most directors would typically do. But Truffaut was very sure of himself and the effect it would have on the audience. Such a beautiful movie! Thanks for posting this scene in particular.
Haven't seen this in almost 50 years... When I was a kid my local PBS TV station (Ch. 13 in NY) used to have a Children's Film Festival, and I remember this film from then, remember the kid's face, the feeling of the movie, and especially the theme music (prevalent in this scene) that really emphasizes the mood.. I've been humming that theme to myself for decades, remembering the feeling but forgetting the source, but here it is again, literally in black and white... Thanks for posting...
I feel it's more the evocation of childhood. This scene awakens the child that wants so desperately to run away but is trapped by a force so much more powerful than him.
The greatest endings/final-scenes in cinema history. A Clockwork Orange Amadeus Bicycle Thieves Birdman Casablanca Chinatown Citizen Kane Ex Machina Fight Club The 400 Blows Gladiator The Good, the Bad and the Ugly The Graduate Grave of the Fireflies Her Inception It's a Wonderful Life La Dolce Vita Lawrence of Arabia The Lord of the Rings Lost in Translation Memento Paris, Texas Psycho Raging Bull Rashomon Schindler's List The Searchers Seven Samurai The Shawshank Redemption The Silence of the Lambs The Social Network There Will Be Blood The Truman Show 2001: A Space Odyssey Whiplash
4:19 Zoom in, subject center frame Record scratch Antoine: (voiceover) Yup, that's me. I guess you are wondering how I ended up here. Film rollback effect. Interior, classroom.
I wouldn't quite go that far e.g. Citizen Kane, L'Avventurra, 8 1/2, etc. But it sure is up there. One of the most overlooked parts of it is how Truffaut has Leaud run rather slowly in his escape to make it seem longer. Then comes that beautiful long pan of the beach and Leaud jogs out slow to the water's edge. Its all slowed down so that we can get an anticipatory feel for the ending. The only thing with speed is when the actor turns around and then the camera moves in on his face for the freeze frame.
TY for posting! The idiots at my cable company did it again--they slow the video or speed our DVRs--I end-up back in the black behind the memory, without pausing or rewinding, then they seamlessly throw me forward into the next movie when I get too far behind! I'm just letting the movie play, not touching anything...just enjoying the film, and suddenly it's different actors, different movie. I've missed so many endings and who wants to watch the next movie without the first 20 minutes? At least I got to see the last scene thanks to you. I'll watch the whole thing over in a few days, it's more than worth the time. Such a smart but tender film from Truffaut...I don't know why no one icluded it in other collections I've seen like Z Channel's New Wave French films. Thanks to TCM for showing us the best movies! Thanks again to you too.
I try to steer clear of the Greatest Ever game, but there isn't a better ending to a film that I know of. A pure shivers moment (fourth wall-breaker of the gods!) , and it never loses its power.
yes i saw it long time back nice movie! coming of age and all that. filmmakers and love for their shots.... even one minute is a long footage for any non break visual.
I thought it would rescue us forever so I sent you the names of my 2 favourite French films. You were my tribute to them and they were my tribute to you. Of course, being a French-Israeli you didn't have to rely on English sub-titles - the films may have opened themselves up to you in a much more direct way than pausing for the translation does. Sharing them with you made me feel very patriotic towards your country. It was as if there were 3 films. The last one was a film of us: It began when I met you in Israel for the first time in my Hotel Lobby. You were talking to someone on your cell phone as I sauntered over to you. Someone had been playing the upright-piano for the guests, but had finished early. The guests were still sitting around the instrument as if its melodies would resume soon enough. I'd been in the Hotel just long enough to get used to it. During the day, a middle-aged guest had been walking around it with a gun in its holster strapped around his waist. It was unnerving and yet I imagine the rationale would have been quite straight-forward. You were standing near the Main Entrance of the Hotel looking almost Peter Pan-ish: luminous eyes, a playful expression and a stance that was very at ease. We walked down the street to a Jerusalem café. Your fingers dancing to its background music. It was as if there were sparks coming of you, like you were brand-new. Indeed, you were brand-new to me. There was no impediment between us and your soft-pink jacket somehow added to your tenderness. I thanked God there was a France so that someone like you could be born there. Later, I would thank God there was a France so I could embrace her culture, her films and so I could give these things back to one of her 'sons' as my gift. I felt both maternal and fraternal about this at the same time. We did go back to your place quite soon. I'd said that I wanted to kiss you and you led the way. I would have happily kissed you in the street, in that strange neighbourhood of Jerusalem that also felt quite rightly to be my spiritual home. Again, a rush of patriotism came over me and I celebrated your nationality with a kiss. That kiss, Jeremie, do you remember it? That kiss? As soft as the bells of Liszt? You showed me your gun - as a security guard, you were responsible for 3 floors of the Israeli Cultural Ministry. I flipped your gun with my hand in the air. We both knew there was not enough time. That can make people do things they wouldn't do otherwise. Instead I just opened my heart a little wider than usual. When you have that many people loving the same place for that many thousands of years, the love seems to surface much quicker like when you tap on someone's skin for a blood-test and immediately find the vein. We emerged well together. Maybe that's why we had so much love in such a short time. We had inherited part of someone else's love. And it's true, I wont lie - we had inherited part of someone's hatred too. Yet when the city lights of Jerusalem are shimmering, its blue-striped and shielded-star decorating its banners that billow in the breeze near Jaffa Street- the City knows how to assure you of its prosperity and posterity. It's as if the City itself is asking you, 'Do you love me enough that you'd die for me? ' All over Israel, Jerusalem and where you work, the answer is a sonorous, 'Yes.' It's only because you would protect your City's love that I can understand someone like you waiting patiently in full-concentration on the 3rd floor of the Cultural Ministry Building holding a loaded gun. It's only because I've seen your fingers moving freely with the Cafe's music that I can imagine your fingers defending that same freedom as they rest on the trigger. When it comes to renewing your vows with Jerusalem, you never falter and your small apartment seems so much bigger when you think about the section of land that its on and the existential rent that's been paid. At the same time, home is home - it's more than just an intuition. I feel I've sent a coded letter to my genes and the reply is hidden in our surroundings. You've literally brought out the best in me. Only 2 days later, I would 'descend'. That's what its called when someone leaves Israel. When you're coming to Israel it's called 'ascending'. I wonder how much the ascension had to do with you. Being around you was like being underwater for a long time and finally breaking through the meniscus and someone dries you with their breath. You can feel the evaporation coming off your skin and you feel a little closer to the atmosphere. You walked me back to my Hotel and we kissed again - goodbye this time or so I thought. You came back to me the next day, I heard your voice as I lay on my Hotel bed. 'It's Jeremie, can you hear me? The Rabbi made a deal for us. I told him we had no time. He's made us a Heder. A Room just for us.' 'Is that really you, Jeremie? What's a Heder-Room? ' 'Yes, it's me, that guy you kissed last night. A Heder-Room is a place for people who have to leave each other too quickly. It's been arranged for us. It's because we didn't have enough time.' Suddenly, I could see the Heder-Room in my mind. It was a simple room with a bed in it and 1 window. It was painted white and Jeremie was sitting on the bed. We were the only distraction of colour. 'What's outside the window? ' 'It's my Rabbi's study. He had to pull a lot of cosmic strings to make this happen. He said it would be easier for him if we concentrate on our side of the perimeter.' 'But how much time do we have now? ' 'About a day. It was the best he could do at short notice.' 'A day? That's all? That's nothing. We may as well be in a jail together. Just as I get used to you, you'll be gone.' At that point,50 locks appeared on the Heder-Room's door and were all fastened at once.4 metal bars appeared on the lone window too. 'Why did you do that? Why turn it into a prison? It's what we make for ourselves. Oh, and I watched those films you sent me on our Dating Site.' 'You did? ' 'Yes, I watched them when I got home that night after we kissed goodbye. I felt like the boy in 'The Red Balloon'', the part where he has his balloon popped and then all the other balloons come from all over the City to show him their love. He's flooded with all this love in return for taking care of that friendly red balloon. That's what this is. The Heder-Room It's all our love from one night together turned into its own dimension.' 'What about 'The 400 Blows'? 'Yes, that mischievous boy. His parents don't understand him. He ends up in a Boy's Detention Centre, but he manages to escape. He runs and runs and runs and finally comes to a beach. He even walks a little on the shore and into the sea before turning back on the sand. It's as if his emotional inertia keeps pushing him forward. Then the director freezes him there. We don't know what happens to him after that. Do they catch him? Do they track him down? We know that he's free, but for how long? It's up to us to decide what happens. What did you decide, Eli? ' We were both sitting on the bed with our legs dangling over the edge and I noticed a rupture start to happen on the floor. A big crack almost broke the room in half. I stopped and tried to gather up my feelings. I tried seeing Jeremie as something that belonged to Jerusalem. Immediately, the crack healed itself. I realised I was trying to fit more space into a thread of time that was too short, the Heder-Room felt like it was spinning. 'I want you to be free.' I said, finally. And the room stopped spinning. 'So do I, Eli, but we still have a little time together. I thought a lot about those 2 films and I realised the boy from 'The 400 Blows' had something with him. Something that would protect him.' 'What do you mean? ' 'Well, it's very subtle. But the director didn't leave him frozen on that beach by himself. He'd generated quite a lot of love from the audience by that stage. So I rewarded him for it. ' 'How? ' 'I gave him a red balloon.' The Heder-Room grew warmer and cosier. The little window was coated by a thin layer of condensation. 'But that's... beautiful.' I felt like the gift I gave him was being returned to me again. It was as if instead of the English sub-titles being at the bottom of the last frame from that film, a little red balloon icon had popped up. 'Can I see your eyes, Eli? ' The Heder-Room suddenly expanded and became filled with our eyes. His and mine. They took up nearly all the space in that room. And there was only a little space between us. If all the sparks in our eyes had turned to water-drops, we would have had to swim to each other. I fell asleep next to him in the Heder-Room. I awoke the next day in my Hotel, I packed my bags and left the home of my ancestors and French-Israelis in soft-pink jackets. It was night time and from the airplane window you could see the city lights of Israel and its sparkling little avenues including one not far from that Hotel Lobby. I thought of the Heder-Room, but no avail, Jeremie had freed himself already and I decided to give him back the full-concentration he needed. I had loved this place - where he lives and breathes - for most of my life and I had found in him even more reasons to do so. It just made so much sense that there were people like him inhabiting something as beautiful as Jerusalem. The plane surges to the left. The credits roll.
Fellini, Truffaut, Bergman; Kubrick those are real artists that proved filmmaking can be true art like Van Gogh or Beethoven's work too bad they didn't get the same mainstream succes like todays joke filmakers clowns like The Russo Brothers; Michael Bay; Adam Sandler sorry for bringing those dreadful names in this comment section
Fellini , Truffaut and Bergman were all legends in their home countries and did quite well financially. Kubrick was an A list director in both UK and Hollywood although of course none of them ever had a Marvel grossing type of film.
This ending confused the hell out of me and left me kind of disappointed. Later I found out there were actually 4 sequels made. Might have to check those out sometime.
Two small details which I love: firstly, Antoine’s superimposition on the sign of the cross at 1:08, representing a coming together of Western and Eastern symbology - the number 108 in the traditions of the East represents the ontological wholeness of reality. I like this because it’s just a random, but somehow apposite coincidence based on the poster’s arbitrary selection, but also because it makes Antoine look as though he has angel’s wings. Secondly, immediately afterwards, Antoine ducks under a road sign when it would have been far, far easier to run around it - I wonder if that’s just something Léaud did on the spur of the moment or whether Truffaut asked him to do it. I don’t care what it means - if anything - I just like it.
Ovo je kraj filma 400 udaraca, remek dela Fransoa Trifoa. Mislim da je to jedna od napotresnijih scena, uopšte snimljenih na filmu. U susret kojoj buri i oluji juri ovaj dečak, bežeći iz doma?!Potresna muzika prati njegov beg, a dečakov pogled na kraju izaziva pomešana osećanja, triumfa i poraza!
I totally love this movie. And that ending was incredible it leaves you to determinate what happens next... In my mind He jumped to the water and killed himself.
I love the film and the final sequence but that zoom in the final shoot took me out and make me laugh a lot. I don't understand the meaning or why some filmmakers choose that option.
@baby jesus chill baby Jesus the point is for each viewer to decide for themselves. I don't know why so many film junkies take it personally when someone else feels differently.
Never saw this Film, Nofilm school brought me here. The ending is so long . I wouldn't even be curious to see where the boy would end up nor to the freeze frame thats so raved about.
lmao whats the point in watching only the final scene of a film then complaining that it's not interesting. clearly its not going to hold any significance if you haven't seen all the scenes leading up to this moment
I haven't seen the movie yet, but I really liked this scene. I think the running goes on for too long but other than that it has quite the impact on me. I also like the freeze frame shot. I wonder if it would have been better had they not frozen that shot and just leave the character staring at the camera until the screen slowly goes black.
The long take of him running was so suspenseful, yet peaceful. It really made my heart pound the first time I saw it.
it makes me cry every time. Happy Birthday, Francois Truffaut, wherever you are!
Very good movie indeed
"I like to cry at the ocean, because only there do my tears seem small" (IYKYK)
Maybe the most moving finale in the history of cinema.
James Jeffrey Paul Qui, mis tres triste
John Gallo mais
+James Jeffrey Paul Haha moving, yeah he is moving alright.
+James Jeffrey Paul ... Nope, can't beat the end of "Thoroughly Modern Mille" 1967.
definitely not "maybe"...
Judge: I think we should place your child under observation in a special home.
Gilberte: Could it be by the sea, Your Honor?
This film hits so hard for those who didn’t really have parents around growing up or grew up in the foster system
My thought was that this kid is being required to become self-reliant at a young age and nobody is making any effort to show him how.
I think Truffaut took a risk with this long take because some viewers might become alienated by watching Antoine run for such a long time. Certainly, it's not something most directors would typically do.
But Truffaut was very sure of himself and the effect it would have on the audience. Such a beautiful movie! Thanks for posting this scene in particular.
Haven't seen this in almost 50 years... When I was a kid my local PBS TV station (Ch. 13 in NY) used to have a Children's Film Festival, and I remember this film from then, remember the kid's face, the feeling of the movie, and especially the theme music (prevalent in this scene) that really emphasizes the mood.. I've been humming that theme to myself for decades, remembering the feeling but forgetting the source, but here it is again, literally in black and white... Thanks for posting...
“This scene blends the evocation of birth with the threat of death.”
Who said that?
@@maximumoccupancy books.google.com/books/about/French_Film.html?id=ESz-Bq60sS8C
I feel it's more the evocation of childhood. This scene awakens the child that wants so desperately to run away but is trapped by a force so much more powerful than him.
This comment gave me REAL shivers. Thank you.
This ending hits hard....it hits really hard
Freedom, elation, dead end .. fabulous scene
I think some masterpiece movies were influenced by the epic long take.
This scene is kinda freeing just watching it
i cant explain how gutting this scene is. the silent tracking shot. it makes me want to cry
The greatest endings/final-scenes in cinema history.
A Clockwork Orange
Amadeus
Bicycle Thieves
Birdman
Casablanca
Chinatown
Citizen Kane
Ex Machina
Fight Club
The 400 Blows
Gladiator
The Good, the Bad and the Ugly
The Graduate
Grave of the Fireflies
Her
Inception
It's a Wonderful Life
La Dolce Vita
Lawrence of Arabia
The Lord of the Rings
Lost in Translation
Memento
Paris, Texas
Psycho
Raging Bull
Rashomon
Schindler's List
The Searchers
Seven Samurai
The Shawshank Redemption
The Silence of the Lambs
The Social Network
There Will Be Blood
The Truman Show
2001: A Space Odyssey
Whiplash
Too many recents films here, not enough silent movies. Always remember that the greatest period of cinema, as an art took place before WWII.
Schindler's List is one my favourite fantasy films.
The Godfather
Nope, you're forgotting maybe Kubrick's best film, but yet the most underrated: Barry Lyndon. The final cut is monstruous
Chaplin:City lights ?
The most iconic scenes in history of cinema
The last shot of Moonlight is almost certainly a reference to this, I would think.
lol, moonlight was dope, so sad you can't enjoy it because of your radical views
It might be a homage to his, but the ending shot of Moonlight is flawless and necessary in the context of Moonlight itself.
That's what I was thinking. Right now there's a movie in my head that I think requires this kind of ending.
Director said it was. Both exceptional films.
@@vanya_stepanov I'm assuming you were talking to another person but they deleted their reply, right?
The guy who influenced thousands on long takes ! Masterpiece
I'm not crying, it's just been raining tears.
Watched it last night and forgot how great French New Wave is this film is so good
I just remembered how fantastic this film is
So powerful.
Masterpiece... My heart jumped so hard when it just ended like that
This is probably the best black and white movie I ever saw on TCM. I love this ending.
The famous "freeze frame" was actually the last two frames printed backwards and forward repeatedly over and over.
4:19
Zoom in, subject center frame
Record scratch
Antoine: (voiceover) Yup, that's me. I guess you are wondering how I ended up here.
Film rollback effect.
Interior, classroom.
400 blows the remake
Maybe you can do the music for that movie mr Bach?
I wouldn't quite go that far e.g. Citizen Kane, L'Avventurra, 8 1/2, etc.
But it sure is up there. One of the most overlooked parts of it is how Truffaut has Leaud run rather slowly in his escape to make it seem longer. Then comes that beautiful long pan of the beach and Leaud jogs out slow to the water's edge. Its all slowed down so that we can get an anticipatory feel for the ending. The only thing with speed is when the actor turns around and then the camera moves in on his face for the freeze frame.
the life blows. by Nelson Muntz
I watched this movie yesterday and all I can do is think about the ending he never saw the ocean he always wanted too he saw it finally
TY for posting! The idiots at my cable company did it again--they slow the video or speed our DVRs--I end-up back in the black behind the memory, without pausing or rewinding, then they seamlessly throw me forward into the next movie when I get too far behind! I'm just letting the movie play, not touching anything...just enjoying the film, and suddenly it's different actors, different movie. I've missed so many endings and who wants to watch the next movie without the first 20 minutes? At least I got to see the last scene thanks to you. I'll watch the whole thing over in a few days, it's more than worth the time. Such a smart but tender film from Truffaut...I don't know why no one icluded it in other collections I've seen like Z Channel's New Wave French films. Thanks to TCM for showing us the best movies! Thanks again to you too.
I love how he throws the ball back into the game then splits
One of my favorite endings!
Quelle fin magique...
Imbd has this absolute masterpiece rated 8,1/10. What the hell Imbd??
Introverts back then:
U susret kojoj buri i oluji juri ovaj dečak? Izvanredna scena, gluma i muzika! Slava Fransoa Trifou!
One of my favorite endings of all time
I Just Love this movie! Thanks, Mr. Truffaut.
Eu simplesmente amo este filme! Obrigado Truffault.
I try to steer clear of the Greatest Ever game, but there isn't a better ending to a film that I know of. A pure shivers moment (fourth wall-breaker of the gods!) , and it never loses its power.
Try Ivan's Childhood. It's similar but moving nevertheless. But I won't argue with the fact that this came out first.
Masterpiece of a film. Masterpiece of an ending.
Pog
Mais, j'adore, moi, le petit M. Jean-Pierre Léaud est magnifique !
yes i saw it long time back nice movie! coming of age and all that. filmmakers and love for their shots.... even one minute is a long footage for any non break visual.
I thought it would rescue us forever so I sent you the names of my 2 favourite French films. You were my tribute to them and they were my tribute to you. Of course, being a French-Israeli you didn't have to rely on English sub-titles - the films may have opened themselves up to you in a much more direct way than pausing for the translation does. Sharing them with you made me feel very patriotic towards your country. It was as if there were 3 films. The last one was a film of us:
It began when I met you in Israel for the first time in my Hotel Lobby. You were talking to someone on your cell phone as I sauntered over to you. Someone had been playing the upright-piano for the guests, but had finished early. The guests were still sitting around the instrument as if its melodies would resume soon enough. I'd been in the Hotel just long enough to get used to it. During the day, a middle-aged guest had been walking around it with a gun in its holster strapped around his waist. It was unnerving and yet I imagine the rationale would have been quite straight-forward.
You were standing near the Main Entrance of the Hotel looking almost Peter Pan-ish: luminous eyes, a playful expression and a stance that was very at ease. We walked down the street to a Jerusalem café. Your fingers dancing to its background music. It was as if there were sparks coming of you, like you were brand-new. Indeed, you were brand-new to me. There was no impediment between us and your soft-pink jacket somehow added to your tenderness. I thanked God there was a France so that someone like you could be born there. Later, I would thank God there was a France so I could embrace her culture, her films and so I could give these things back to one of her 'sons' as my gift. I felt both maternal and fraternal about this at the same time.
We did go back to your place quite soon. I'd said that I wanted to kiss you and you led the way. I would have happily kissed you in the street, in that strange neighbourhood of Jerusalem that also felt quite rightly to be my spiritual home. Again, a rush of patriotism came over me and I celebrated your nationality with a kiss. That kiss, Jeremie, do you remember it? That kiss? As soft as the bells of Liszt?
You showed me your gun - as a security guard, you were responsible for 3 floors of the Israeli Cultural Ministry. I flipped your gun with my hand in the air. We both knew there was not enough time. That can make people do things they wouldn't do otherwise. Instead I just opened my heart a little wider than usual.
When you have that many people loving the same place for that many thousands of years, the love seems to surface much quicker like when you tap on someone's skin for a blood-test and immediately find the vein. We emerged well together. Maybe that's why we had so much love in such a short time. We had inherited part of someone else's love. And it's true, I wont lie - we had inherited part of someone's hatred too. Yet when the city lights of Jerusalem are shimmering, its blue-striped and shielded-star decorating its banners that billow in the breeze near Jaffa Street- the City knows how to assure you of its prosperity and posterity. It's as if the City itself is asking you, 'Do you love me enough that you'd die for me? ' All over Israel, Jerusalem and where you work, the answer is a sonorous, 'Yes.'
It's only because you would protect your City's love that I can understand someone like you waiting patiently in full-concentration on the 3rd floor of the Cultural Ministry Building holding a loaded gun. It's only because I've seen your fingers moving freely with the Cafe's music that I can imagine your fingers defending that same freedom as they rest on the trigger. When it comes to renewing your vows with Jerusalem, you never falter and your small apartment seems so much bigger when you think about the section of land that its on and the existential rent that's been paid. At the same time, home is home - it's more than just an intuition. I feel I've sent a coded letter to my genes and the reply is hidden in our surroundings. You've literally brought out the best in me.
Only 2 days later, I would 'descend'. That's what its called when someone leaves Israel. When you're coming to Israel it's called 'ascending'. I wonder how much the ascension had to do with you. Being around you was like being underwater for a long time and finally breaking through the meniscus and someone dries you with their breath. You can feel the evaporation coming off your skin and you feel a little closer to the atmosphere. You walked me back to my Hotel and we kissed again - goodbye this time or so I thought.
You came back to me the next day, I heard your voice as I lay on my Hotel bed.
'It's Jeremie, can you hear me? The Rabbi made a deal for us. I told him we had no time. He's made us a Heder. A Room just for us.'
'Is that really you, Jeremie? What's a Heder-Room? '
'Yes, it's me, that guy you kissed last night. A Heder-Room is a place for people who have to leave each other too quickly. It's been arranged for us. It's because we didn't have enough time.'
Suddenly, I could see the Heder-Room in my mind. It was a simple room with a bed in it and 1 window. It was painted white and Jeremie was sitting on the bed. We were the only distraction of colour.
'What's outside the window? '
'It's my Rabbi's study. He had to pull a lot of cosmic strings to make this happen. He said it would be easier for him if we concentrate on our side of the perimeter.'
'But how much time do we have now? '
'About a day. It was the best he could do at short notice.'
'A day? That's all? That's nothing. We may as well be in a jail together. Just as I get used to you, you'll be gone.'
At that point,50 locks appeared on the Heder-Room's door and were all fastened at once.4 metal bars appeared on the lone window too.
'Why did you do that? Why turn it into a prison? It's what we make for ourselves. Oh, and I watched those films you sent me on our Dating Site.'
'You did? '
'Yes, I watched them when I got home that night after we kissed goodbye. I felt like the boy in 'The Red Balloon'', the part where he has his balloon popped and then all the other balloons come from all over the City to show him their love. He's flooded with all this love in return for taking care of that friendly red balloon. That's what this is. The Heder-Room It's all our love from one night together turned into its own dimension.'
'What about 'The 400 Blows'?
'Yes, that mischievous boy. His parents don't understand him. He ends up in a Boy's Detention Centre, but he manages to escape. He runs and runs and runs and finally comes to a beach. He even walks a little on the shore and into the sea before turning back on the sand. It's as if his emotional inertia keeps pushing him forward. Then the director freezes him there. We don't know what happens to him after that. Do they catch him? Do they track him down? We know that he's free, but for how long? It's up to us to decide what happens. What did you decide, Eli? '
We were both sitting on the bed with our legs dangling over the edge and I noticed a rupture start to happen on the floor. A big crack almost broke the room in half. I stopped and tried to gather up my feelings. I tried seeing Jeremie as something that belonged to Jerusalem. Immediately, the crack healed itself. I realised I was trying to fit more space into a thread of time that was too short, the Heder-Room felt like it was spinning.
'I want you to be free.' I said, finally. And the room stopped spinning.
'So do I, Eli, but we still have a little time together. I thought a lot about those 2 films and I realised the boy from 'The 400 Blows' had something with him. Something that would protect him.'
'What do you mean? '
'Well, it's very subtle. But the director didn't leave him frozen on that beach by himself. He'd generated quite a lot of love from the audience by that stage. So I rewarded him for it. '
'How? '
'I gave him a red balloon.'
The Heder-Room grew warmer and cosier. The little window was coated by a thin layer of condensation.
'But that's... beautiful.' I felt like the gift I gave him was being returned to me again. It was as if instead of the English sub-titles being at the bottom of the last frame from that film, a little red balloon icon had popped up.
'Can I see your eyes, Eli? '
The Heder-Room suddenly expanded and became filled with our eyes. His and mine. They took up nearly all the space in that room. And there was only a little space between us. If all the sparks in our eyes had turned to water-drops, we would have had to swim to each other.
I fell asleep next to him in the Heder-Room. I awoke the next day in my Hotel, I packed my bags and left the home of my ancestors and French-Israelis in soft-pink jackets. It was night time and from the airplane window you could see the city lights of Israel and its sparkling little avenues including one not far from that Hotel Lobby. I thought of the Heder-Room, but no avail, Jeremie had freed himself already and I decided to give him back the full-concentration he needed. I had loved this place - where he lives and breathes - for most of my life and I had found in him even more reasons to do so. It just made so much sense that there were people like him inhabiting something as beautiful as Jerusalem. The plane surges to the left. The credits roll.
Fellini, Truffaut, Bergman; Kubrick those are real artists that proved filmmaking can be true art like Van Gogh or Beethoven's work too bad they didn't get the same mainstream succes like todays joke filmakers clowns like The Russo Brothers; Michael Bay; Adam Sandler sorry for bringing those dreadful names in this comment section
Fellini , Truffaut and Bergman were all legends in their home countries and did quite well financially. Kubrick was an A list director in both UK and Hollywood although of course none of them ever had a Marvel grossing type of film.
Adam Sandler isn't a director
Idk they make alright movies. Adam Sandler also doesn’t direct
What's a border? where is an end? what a question.
This ending confused the hell out of me and left me kind of disappointed. Later I found out there were actually 4 sequels made. Might have to check those out sometime.
You really should yes. 400 Blows is really the best
Seriously???
First ever 'freeze-frame' ending 1959.
This is exquisite.
Fin.
run boy run
que je degradasse les murs de la classe....
You made it! The sea.
So moving
Vous mourrez ici la terre. où se trouve meurt, le bruit de la mer.
Sad story. Can say few things, poor boy. Not so lucky with parents. And that psycho teachers, good place in hospital, then in school.
Two small details which I love: firstly, Antoine’s superimposition on the sign of the cross at 1:08, representing a coming together of Western and Eastern symbology - the number 108 in the traditions of the East represents the ontological wholeness of reality. I like this because it’s just a random, but somehow apposite coincidence based on the poster’s arbitrary selection, but also because it makes Antoine look as though he has angel’s wings. Secondly, immediately afterwards, Antoine ducks under a road sign when it would have been far, far easier to run around it - I wonder if that’s just something Léaud did on the spur of the moment or whether Truffaut asked him to do it. I don’t care what it means - if anything - I just like it.
Life sucks by Nelson
And now? What look will we return to the kid?
Beck's Devil's Haircut video.
The entire film antoine nobody in his life even though the mother and her unfeeling boyfriend were around 😢sad
Analogous with those who live in Gaza.
me doing cross country
Ovo je kraj filma 400 udaraca, remek dela Fransoa Trifoa. Mislim da je to jedna od napotresnijih scena, uopšte snimljenih na filmu. U susret kojoj buri i oluji juri ovaj dečak, bežeći iz doma?!Potresna
muzika prati njegov beg, a dečakov pogled na kraju izaziva pomešana osećanja, triumfa i poraza!
Brabíssimo! rs
I get tired watching him run.
@Antonio Anselmo sheesh I don't think that was a critique of the movie chill out
Where is this beach?
villers-sur-mer beach, cliffs " des vaches noires"
MATHIEU STANNIS !
😢😢😢😢😢😢
Here bc of harry potter okurrrrr
Thts a good end, but it took forever to run here
I totally love this movie. And that ending was incredible it leaves you to determinate what happens next... In my mind He jumped to the water and killed himself.
Watch next five Antoine Doinel movies to find out
Check out my piano cover of the main theme of the movie
Simpsons brought me here
I love the film and the final sequence but that zoom in the final shoot took me out and make me laugh a lot. I don't understand the meaning or why some filmmakers choose that option.
Nelson
I'm gay and I found this title very misleading.
Probably the most anti climatic ending I've seen in a movie.
DMC1 but that is the exact point
1st ever freeze-frame ending.
Classic.
Fin.
@baby jesus chill baby Jesus the point is for each viewer to decide for themselves. I don't know why so many film junkies take it personally when someone else feels differently.
Nelson Muntz brought me here
You can fast-forward to the last five seconds of this running interlude, for the 'climax'.
what's the point in watching it then?
NO!!!!!
Not much of an ending really. It just stops. For the same reason the kid has to stop, it has nowhere to go.
Never saw this Film, Nofilm school brought me here. The ending is so long . I wouldn't even be curious to see where the boy would end up nor to the freeze frame thats so raved about.
watch the whole film. the ending means a lot more when you have the context.
lmao whats the point in watching only the final scene of a film then complaining that it's not interesting. clearly its not going to hold any significance if you haven't seen all the scenes leading up to this moment
Ha ha. Poor trolling. You must be a newbie.
Go fuck yourself. Ignorant shit
I haven't seen the movie yet, but I really liked this scene. I think the running goes on for too long but other than that it has quite the impact on me. I also like the freeze frame shot. I wonder if it would have been better had they not frozen that shot and just leave the character staring at the camera until the screen slowly goes black.
Another so called "important movie" that is boring and hasn't aged well.
Go back and frolic with your goose on the loose. Leave the movies to the grown-ups.
Childish comment.