Looking not unlike Jean-Pierre Léaud, Michel Tarrazon's young 10 year-old tearaway François could very well be an alternative continuation of the story of Truffaut's Antoine Doinel after the 400 Blows (Truffaut indeed was one of the film's producers alongside Claude Berri), but the treatment from Maurice Pialat, in his first feature film, is notably more harshly realist. Abandoned by his parents, François is passed from one foster family to another, each of them finding it impossible to control a young boy who inevitably has behavioural problems and gets into a lot of trouble torturing cats, stealing from other kids and wielding a large knife. Although he is given love and affection by the poor families who take him in for the little extra money they will receive, he inevitably never feels like he belongs and ends up turning against the people who want to help him.
Made when he was 43 years old, L'Enfance Nue clearly has strongly autobiographical elements although Pialat wasn't placed in the hands of the social services, he was brought up by his grandparents and did feel abandoned by his parents. The film also depicts the social circumstances of the period and the poverty of the outlying suburban districts (already the subject of the director's 1961 short film L'Amour Existe). Using non-professional actors, L'Enfance Nue consequently also has a certain almost documentary-like realism that would become characteristic of Pialat's hard-hitting style.
23 out of 28 found this helpful