不安分的`年轻人们

剧情简介

Middle class ;studen#t Bob Letellier ente*rs a new world when h`e meet?]s- Ala*-in, !a free-thinking rebel who, along
 w.-*@/ith his group of you/ng P^;arisians, has opted for[.: a life of insta\nt gratification i%nstead o
(f work and :!commitment. At a party??, B`ob #@mee `ts a youn $*g woman, Mic#\,#, who(` appear*,+$s t-o b:\)e j;\ust as car/efree $^a;*nd ?cynical as Alain . Mic's o%n`.ly ?dream is to o_+wn a luxur y car, an.];d w/i`)+ th B@ob's 
@help, she
% mana`ges @-to,  ?=find the money to %:bu:`t it.?  Mic]'s friend Clo. discovers sh]e is)) pregnant and, n^o,t k^
nowing who the fat;$her is.],=)% sh
e asks Bob ^to m@=ar_@]ry ())he.#r.^ W-/hen they next meet at a party, (+Bob; \ and M

_ic deny_: that they hav)#e any *feelin?]gs for one ano;ther - a declaration that soon leads ;to tragedy...　:$ 　　　Marcel Carné is widely r-@egard(=ed( as o) =n[e -of the standard beare:rs of French quality cinema@ of the % 1930s an:d 1940+*s, r +e @sponsible for s,:uch *# ?mast@erpieces as^  Quai des brumes,/ !
$%(1[938) and
 Les En?fants du; Para#di/[)s` ,(1`:945). Ho _w ironic t_;hen that, i]`n ? 1958, tow-ard*%.s=\ the en+*d of his!@ fil-m-making  care,er, he should ^mak e `a\ film w) hic+h dared t]o portray the atti.^ tudes and behaviour of :\the 1(;950-,s youth, in a way + ;that effectively captures the moo
d*= _an@^ d sentim!
e@_nt of the time.　　　　Le*!%s Tricheurs  /was ,^a huge.ly controversial f ?ilm, not least beca ;use of? its b%lata*=]nt depiction_ of ad[olescent f $ree-l$ove, and *w !^_as ev(,-@en ba.%n;ned in `some regi[
ons of France. It als
;o $`received some int+_/ensely un[favourabl/
e rev#/ ^i%[,ew-s,_[: most not)_abl[y from 
;t:/he y#[oung hotheads o#)n /
the C$/%ahier?s du c$iném[_a such as François ,%Truffa#ut who cited this film as a prime .example of!\ the decline#\ of Frenc%h cinema into mediocrity. In *?s_.pi*=te of al l this nega?ti=.#ve press, the film@($_ prov`,(!,ed t(#\o) be
( an astoni#[shing com?$mer,.=cial s]ucc!=ess, attracting fi(* v`e mi?llion cinema-goers, and was award`ed (th/:e*= Grand P?,rix  du Cinéma franç ais in 1958)_ .　　　　Whils_\t Les Tri!]cheurs is not ;/a%? s
_ @.flawless as C
arné's earli .er mast()erpiec es, it is nonetheless a sign =ificant work, havi]?%ng the power to._) both shock[` an\+d move i:t*s audience, ()w ,hi.lst having gr^*eat ^$en:tertainment! val:u ?e. It[^ evokes th\(
e mo@od = of $
its time .in a way that
.+^few Fr^ ench films of?%^/ this $period .,_(did, *depi_cti#ng (_[young +pe-=ople +_as `. )_pl/%:eas ure- _seeking rebe l$s:!, rejecti;?-@ng the a
=uste*rit=y and,+] di\
[s`_ciplin.-e of the previous@ ] gen=+eration wh::ilst p@#ursu+ing a ;
lif%:e without[( cares, respons[`/!^ibilities or lo`\ve. Similarities,;$ wit ;h James Dea=\n's -
f @ilm`..*s $[o/!f the 1950,^s$_% (most notably Reb:--el w_?ithout a C$@ause) are ap(p`_!arent)(?, alt
hough ]\Carné's trea$=\[t.me!..nt of young) peo ?ple ^+is f` ar more abstra :ct -@ in his fil\@$m they me\)/rely s`ymbolise a w=;orld t`)%hat has lost its way, more or (less v:ictim. s ?-of / post#-wa r pr!osper
(ity. _. A*\@lthough !`\the (/.y (ou(/ng.^- p] eopl) e i# /n L:`es Tricheurs l,!ack th\**e --aut@he* nticity `@to be totally c] ?;re`^*dible, @#;the film doe`*:s m.ake ?an import)ant, _.:and indee\d quite disturb,ing poin_t, about where th#e permissi,+#ve society ma%(
y )be heading^@*.　　　　Muc#h of $^
t=$he ,-plea!sure` o% #f the film_] is in ]=the perfo:rma%!:nces from its f%o;)=ur(  lead actors, Jacques $[Charrier.@,,# ; Pasc#ale Petit, Laurent Terzi#eff ?:
[and Andréa P *a%[risy, a%ltho ;u_#@gh? o#/nly Ter (=zieff is rea^[lly c.]onvincing,] in his role. -;Ma
]rcel [ ?Car+*né orig@inally considered Alain Del`
@on and Jean-Pa@ ul. Bel;=mondo )%for 
the parts ;,$o-.f Bo +b and (#\A/ lai+\n respectively, before=_ %_op/=ting fo
$$,r Cha?rrier and Terzieff. A=$;s .a consol.._atio.n, Carné. offered :Belmondo a]$ smal ^ler part in the ` (film - alas. too s.^$.ma[ll- for^_ the actor to be noti\ *.c/;`ed by the _[;publi!\c. Belmondo's breakth \rough h[:@ad ) to wait un:(.til the fo  l`
l/owing year when h^e/ st
arred in J*ea[n-L^uc Godard's ^ revolut(^ion=ary /A bou+`:t de souff#/le, a film wh/,:ic+h off*(e,,rs a ve! ry different
 perspectiv !/e of the \yout^h generation.