Violence In The Film Truffaut's Les Mistons

witness it through the fence just like in les mistons when the kids are watching behind the fence. The circus is the perfect setting and it culturally connects to Rome open city and the children are just like the heroes in the other film. A piece of architure this perfectly connects to the setting to the Rossellini film by the obscurity and violence of the Nazi regime. We all remember that thanks to Bazan was from 56-58 Roberto, he is the assistant director. In the very same scene and sequence a memorable moment happens in Les Mistons, The first boy shot, miraculously comes back to life in a slow motion reverse shot. This is an unmistakable tribute to one of Truffaut’s early heroes Jean Locteu at the end of Beauty and the Beast in 1946. The
Truffaut exercises here another trauma and memory of his childhood. A Persian boy who was already tormented by the trauma of Paris being occupied by the Nazi army. Truffaut here recognizes and pains himself through Les Mistons as a child of the war. Truffaut continues in an angry and playful way is portrayal of children as cinema creatures, through childhood, cinema and life deeply dialogue with each other. Les Mistons stop briefly by a wall as the kids rip a poster out and it is not translated and they mumble a little nursery rhyme, The director of a film called the Young rebels. Truffaut destroyed this film in one of his mythical essays, showing the political reaction philosophy of the director and the film is about a group of 6 young kids belonging to the working class that are shown and condemned as troublemakers and immoral little beasts. More meaningful is the fact that the brats designate the conservative landmark film after storming out of the cinema. We now understand better how Truffaut has woven very persecisly a network of cinephilic references and cinematic tributes in his first