Release Date: 1959

Roger Ebert / Aug 8, 1999

I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between.Francois Truffaut

我要求电影表达喜悦，抑或苦恼，任何介于两者之间的，我都不感兴趣。 

- 弗朗索瓦·杜鲁福

Francois Truffaut's "The 400 Blows" (1959) is one of the most intensely touching stories ever made about a young adolescent. Inspired by Truffaut's own early life, it shows a resourceful boy growing up in Paris and apparently dashing headlong into a life of crime. Adults see him as a troublemaker. We are allowed to share some of his private moments, as when he lights a candle before a little shrine to Balzac in his bedroom. The film's famous final shot, a zoom in to a freeze frame, shows him looking directly into the camera. He has just run away from a house of detention, and is on the beach, caught between land and water, between past and future. It is the first time he has seen the sea.

 “400击” （1959），根据导演弗朗索瓦·杜鲁福的早年生活改编，讲述了一个聪慧少年在巴黎的成长历程，其中，还加进了一段鲁莽的犯罪经历，是青少年题材中最感人的电影。在大人看来，他惹事生非。在观众看来，却是他回忆的瞬间，比如卧室里，在巴尔扎克照片前点蜡烛。影片最后的镜头很有名，一个变焦长镜头跟拍到他直视镜头定格为止。他刚从看守所逃跑，来到海滩，在大地和大海之间，在过去与未来之间驻足。这是他第一次看海。

Antoine Doinel was played by Jean-Pierre Leaud, who has a kind of solemn detachment, as if his heart had suffered obscure wounds long before the film began. This was the first in a long collaboration between actor and director; they returned to the character in the short film "Antoine and Collette" (1962) and three more features: "Stolen Kisses" (1968), "Bed and Board" (1970) and "Love on the Run" (1979).

让-皮埃尔·利奥扮演的少年安托万.多伊内尔，庄重而不凡，仿佛在影片开始前，便已经蒙受了不为人知的痛苦。这是演员和导演第一次、也是长期合作的开始。随后，这一角色沿用到短片“安托万和考利特”（1962）和“偷吻”（1968），“床弟之欢”（1970）与“爱情狂奔”（1979）三部电影之中。

The later films have their own merits, and "Stolen Kisses" is one of Truffaut's best, but "The 400 Blows," with all its simplicity and feeling, is in a class by itself. It was Truffaut's first feature, and one of the founding films of the French New Wave. We sense that it was drawn directly out of Truffaut's heart. It is dedicated to Andre Bazin, the influential French film critic who took the fatherless Truffaut under his arm at a time when the young man seemed to stand between life as a filmmaker and life in trouble.

之后拍摄的影片各有特色，尤其是“偷吻”，算得上杜鲁福的最佳影片。尽管如此，他的处女作“400击”以其质朴的情感而独树一帜，成为法国新浪潮电影的奠基之作，从中，我们能切身感受他的内心。这要归功于安德烈·巴赞，一位在法国享有盛誉的影评人，给了这个在电影与不幸徘徊的年轻人以父爱的照顾。

Little is done in the film for pure effect. Everything adds to the impact of the final shot. We meet Antoine when he is in his early teens, and living with his mother and stepfather in a crowded walkup where they always seem to be squeezing out of each other's way. The mother (Claire Maurier) is a blond who likes tight sweaters and is distracted by poverty, by her bothersome son, and by an affair with a man from work. The stepfather (Albert Remy) is a nice enough sort, easy-going, and treats the boy in a friendly fashion although he is not deeply attached to him. Both parents are away from home a lot, and neither has the patience to pay close attention to the boy: They judge him by appearances, and by the reports of others who misunderstand him.

影片朴实无华，每一步都为了加强最后镜头的效果。安托万十多岁时，与母亲和继父一起生活。他在过道搭铺睡，显得碍手碍脚的。母亲（克莱尔.玛瑞埃尔）一头金发，喜欢穿紧身毛衣，贫困、爱惹麻烦的儿子以及与男同事的恋情搞得她心烦意乱。继父（艾尔伯特.瑞米）对他倒很友好，也很随和，不过他并不真的喜欢他。父母经常不在家，也没心思管教孩子：高兴了批评两句，要不就听信谗言，妄加评判。

At school, Antoine has been typecast by his teacher (Guy Decombie) as a troublemaker. His luck is not good. When a pinup calendar is being passed from hand to hand, his is the hand the teacher finds it in. Sent to stand in the corner, he makes faces for his classmates and writes a lament on the wall. The teacher orders him to decline his offending sentence, as punishment. His homework is interrupted. Rather than return to school without it, he skips. His excuse is that he was sick. After his next absence, he says his mother has died. When she turns up at his school, alive and furious, he is marked as a liar.

在学校，老师（盖伊.德科姆皮耶）想当然地把他当成了捣蛋鬼。他的运气也不好，同学们传阅的性感美女画报，一到他手上，便被发现了。他到墙角罚站，向同学做鬼脸，还在墙上写打油诗。老师要他承认错误。他没写作业，在同学的怂恿下逃了学，撒谎说自己病了。第二次旷课，他说他母亲死了。母亲被叫到学校，知道后，暴跳如雷，他成了说谎的坏孩子。

And yet we see him in the alcove that serves as his bedroom, deeply wrapped in the work of Balzac, whose chronicles of daily life helped to create France's idea of itself. He loves Balzac. He loves him so well, indeed, that when he's assigned to write an essay on an important event in his life, he describes "the death of my grandfather'' in a close paraphrase of Balzac, whose words have lodged in his memory. This is seen not as homage but as plagiarism, and leads to more trouble and eventually to a downward spiral: He and a friend steal a typewriter, he gets caught trying to return it and is sent to the juvenile detention home.

然而，在他的‘卧室’里，却摆着巴尔扎克的作品。他热爱巴尔扎克到了无以加复的地步。老师让学生写一篇作文，题目是深深影响你或目击的大事，他借用了巴尔扎克耳熟能详的名句写了“祖父之死”，可这不是向伟人致敬，倒像是剽窃，这下可惹麻烦了，情况急转直下。他和朋友偷了台打字机，没卖成，送回去时被逮了个正着。他进了少管所。

The film's most poignant moments show him set adrift by his parents and left to the mercy of social services. His parents discuss him sadly with authorities as a lost cause ("If he came home, he would only run away again''). And so he is booked in a police station, placed in a holding cell and put in a police wagon with prostitutes and thieves, to be driven through the dark streets of Paris, his face peering out through the bars like a young Dickensian hero. He has a similar expression_r at other times in the film, which is shot in black and white in Paris in a chill season; Antoine always has the collar of his jacket turned up against the wind.

让人心寒的是，父母不要他了，把他丢给了当局。他们很无奈，说“如果他回家，他还会离家出走的”，拿他一点办法也没有。警察拘留了他，把他锁进牢笼，和小偷妓女一道押上囚车，驶向夜幕下的巴黎街头。透过铁栏杆，他向外望着，眼泪止不住地往下流，犹如狄更斯笔下的少年。这种神情在影片中曾多次出现：黑白镜头，巴黎街头，严寒季节；每次安托万总是翻起领子，抵-御-风-寒。

Truffaut's film is not a dirge or entirely a tragedy. There are moments of fun and joy (the title is an idiom meaning "raising hell''). One priceless sequence, shot looking down from above the street, shows a physical education teacher leading the boys on a jog through Paris; two by two they peel off, until the teacher is at the head of a line of only two or three boys. The happiest moment in the film comes after one of Antoine's foolish mistakes. He lights a candle to Balzac, which sets the little cardboard shrine on fire. His parents put out the flames, but then for once their exasperation turns to forgiveness, and the whole family goes to the movies and laughs on the way home.

虽然，杜鲁福把“400击”拍成了彻头彻尾的悲剧、一首挽歌，不过，其中也不乏兴风作浪之举，给观众带来少许的快乐和喜悦。有一组镜头让人忍俊不禁：从楼顶向下望去，体育老师带领他的学生在巴黎街头慢跑；少年们三三两两地离队，直到老师身后只剩下三两个少年为止；影片有个情节也很有趣：安托万做了傻事，蜡烛点着了纸板搭的小圣坛，巴尔扎克着火了。全家人慌忙灭火。观众大感意外的是，父母竟然没发火，还原谅了他。当晚，一家人看了场电影，回家时，有说有笑。

There is a lot of moviegoing in "The 400 Blows,'' with Antoine's solemn face turned up to the screen. We know that young Truffaut himself escaped to the movies whenever he could, and there is a shot here that he quotes later in his career. As Antoine and a friend emerge from a cinema, Antoine steals one of the lobby photos of a star. In "Day for Night'' (1973), which stars Truffaut himself as a film director, there is a flashback memory to the character, as a boy, stealing down a dark street to snatch a still of "Citizen Kane" from in front of a theater.

影片里，许多观众走进电影院，与神色凝重的安托万一起看电影。我们了解到，青年时期的杜鲁福一有时间便偷偷跑去看电影。他曾提及一个镜头：与朋友走出影院大厅时，安托万偷走了一张明星海报。在影片“日以继夜”（1973）中，杜鲁福亲自上阵扮演一名电影导演。他用闪回镜头，回忆少年时，夜晚，他揭走了剧院前“公民凯恩”的海报。

The cinema saved Francois Truffaut's life, he said again and again. It took a delinquent student and gave him something to love, and with the encouragement of Bazin he became a critic and then made this film by his 27th birthday. If the New Wave marks the dividing point between classic and modern cinema (and many think it does), then Truffaut is likely the most beloved of modern directors -- the one whose films resonated with the deepest, richest love of moviemaking. He liked to resurrect old effects (the iris shots in "The Wild Child," narration in many of his films) and pay tribute ("The Bride Wore Black" and "Mississippi Mermaid" owe much to his hero, Hitchcock).

弗朗索瓦·杜鲁福不止一次说电影拯救了他，让坏学生有了爱的方向；在巴赞的鼓励下，他成为影评家；27岁生日那天，拍摄了这部电影。如果新浪潮是经典与现代电影的分界点(很多人都这么认为)，也许，杜鲁福就是最受拥戴的现代导演 – 他和电影相爱，有了共鸣。他改良电影传统技法（如影片“野孩子”中的淡入淡出镜头，多部电影的旁白等）。同时，他也表达了敬意（“黑衣新娘”和“骗婚记”是向他的偶像希区柯克的献礼之作）

Truffaut (1932-1984) died too young, of a brain tumor, at 52, but he left behind 21 films, not counting shorts and screenplays. His "Small Change" (1976) returns to the sharply remembered world of the classroom, to students younger than Doinel, and recalls the almost unbearable tension as the clock on the wall creeps toward the final bell. Even while directing a film a year, he found time to write about other films and directors, and did a classic book-length, film-by-film interview with Hitchcock.

杜鲁福（1932-1984）英年早逝，52岁死于脑瘤，然而他却给后人留下了21部电影，这还不包括短片和剧本。在影片“无足轻重”（1976）中，他又一次来到课堂，回到了比多伊内尔更小的学生中间，痛苦地回忆起挂钟缓慢挪动着指针，焦急等待下课铃的情景。尽管一年导一部电影，但他仍不忘给点评其他影片和导演，此外，他还一部接一部电影地采访希区柯克，写下的笔札足有经典名著那样的篇幅。

One of his most curious, haunting films is "The Green Room" (1978), based on the Henry James story "The Altar of the Dead," about a man and a woman who share a passion for remembering their dead loved ones. Jonathan Rosenbaum, who thinks "The Green Room" may be Truffaut's best film, told me he thinks of it as the director's homage to the auteur theory. That theory, created by Bazin and his disciples (Truffaut, Godard, Resnais, Chabrol, Rohmer, Malle), declared that the director was the true author of a film -- not the studio, the screenwriter, the star, the genre. If the figures in the green room stand for the great directors of the past, perhaps there is a shrine there now to Truffaut. One likes to think of the ghost of Antoine Doinel lighting a candle before it.

在他的众多电影中，最离奇难忘的是“绿屋”（1978）。根据亨瑞.詹姆士的小说“亡故人的祭坛”改编，影片讲述了一个男人和一个女人，通过缅怀死去的爱人来分享彼此激情的故事。乔纳森·罗森鲍姆认为“绿屋”是杜鲁福最出色的电影。他告诉过我，这部作品表达了杜鲁福对电影导演的敬意，同时也充分肯定了‘导演中心论’。巴赞和他的门徒（特吕弗，戈达德，雷奈，夏布洛尔，罗梅尔，马勒）断言，电影真正的作者不是制片厂，编剧，明星，体裁，而是导演。如果绿屋里的主人公代表伟大导演的过去，那么，现在也许就该为杜鲁福设一座神坛。让虚构的安托万.多伊内尔再点一次蜡烛。

* “四百击”是法语俚语，指青少年莫名的愤怒和叛逆。狠狠地打屁股四百下，孩子也许就听话了。仅从字面还可以理解为，人的成长会遇到社会方方面面的打击。