It’s not an overstatement to say that Jean-Luc Godard’s noiry, crime-romance Breathless (À bout de souffle) may be one of the most important films of a very important film era—a game changer. For the film critic turned filmmaker, Breathless Godard’s first feature and it helped to define an exciting new cinema movement that was brewing among young cinephiles in France now known as The French New Wave. With its hand-held photography, jump cutting, improvised script, and natural lighting, it carefully broke many rules of formal cinema. Inspired by American crime films, mostly the B-movies that that generation of the French critics came to appreciate long before their American counterparts, it romanticized the underworld, without the moral lessons of so many similar American movies. The film also gives a shout-out to Jean-Pierre Melville’s Bob Le Flambeur, another film inspired by American Noirs. Playing the film’s lead, a small-time crook with a death wish, Breathless put actor Jean-Paul Belmondo on the map. His gripping and charismatic performance reeks of his influences, most notably Humphrey Bogart and Marlon Brando. Like so many filmmakers to come, from Martin Scorsese to Quentin Tarantino (who both cite Breathless as a major influence), Godard’s work, and Breathless in particular, was a tribute to the movies that came before that the director admired.

What do you think of when you hear the term French New Wave? Do you think of Francois Truffaut's The 400 Blows or Breathless, Jean-Luc Godard's first feature film? Surely the majority of those who adore the movement and acknowledge its influences believe that Truffaut, and in some circles, Godard, were the inventors of the French New Wave. Not to spit in anyone's soup, but I'd argue against those claims using this film alone. The attractiveness of a film like The 400 Blows comes from its simplicity and the relation of the film to the director. Of course there's the auteur theory mixed in and Truffaut did write the film, but the most important aspect of it is the director’s relation to story and how well its messages were relayed based on that relationship. The 400 Blows is an autobiographical tale that stems from Truffaut's boyhood, and therefore no-one else could have made it work except him. In that sense, it resembles art more than entertainment because of the personal aspect and a story about societal detachment, which many people can relate to. But he wasn't the first to make such a film. Robert Bresson, one of my favorite directors, did the same thing these directors did, only first. A Man Escaped is about a French POW, and in reality Bresson spent time as a POW in Germany before becoming a screenwriter and director.

The power of black and white film in an autobiographical story never ceases to be emotional and meaningful. The English title of French New Wave director François Truffaut's film The 400 Blows is unfortunately a literal translation that overlooks the meaning of the phrase "faire les quatre cents coups." The main character of the film is a thirteen-year-old boy named Antoine Doinel, who does exactly that – raises hell, or causes disruption within a society of order. Truffaut has a unique and undeniably intelligent way of filmmaking that is showcased in this personal film.

Our protagonist is as mysterious as he is mischievous. That is his essential charm – a young figure full of paradigms and intrigues. The beauty of the film lies in the fact that we follow him without obvious or over-the-top plot moves. The viewer is able to simply observe and be with Antoine in his exploration of a being a French adolescent. Antoine enters a life of crime and trouble making. He is scolded by his teacher, he discovers his mother is having an affair, and engages in stealing. He is punished and misunderstood by adults. There is no perfect answer for this boy, and this film proves there is no need for that. Truffaut allows us instead to enter a boy's intimate moments in visceral and dreamlike states.