â€œMaybe itâ€™s something in his glands,â€ one teacher haplessly suggests when trying to determine just what it is that has gone wrong with Antoine Doinel, the troubled adolescent protagonist in visionary French director FranÃ§ois Truffautâ€™s stunning, semiautobiographical 1959 debut feature The 400 Blows (the English title is a puzzlingly literal translation of a French phrase meaning roughly, â€œto raise hellâ€). Of course it isnâ€™t Antoineâ€™s glands that are the problem. Neglected and too-obviously unwanted at home, Antoine finds little of the care and understanding he needs at school either. The first time we meet him in the film, heâ€™s already in trouble, caught with a dirty picture that was passed to him by the other boys. His luck continues in this fashion, and soon the sensitive and intelligent but misunderstood boy has gone from cutting school to running away from home and engaging in petty theft. The filmâ€™s final shot â€“ a freeze frame close-up of Antoine on the beach â€“ has become one of the most iconic and most often imitated images in world cinema, a simple but extremely potent portrait of a young man alone and uncertain of his future. The story, apocryphal or not, that Truffaut actually ran out of film on the beach doesnâ€™t lessen the brilliance of that parting shot â€“ a celebrated and hugely influential film critic before he got behind a camera, Truffaut knew a good thing when he saw it.