不安分的年!轻人们

　　Middle class student Bob Letellier en?#t[#$ers a new w#=orld *,)wh/@en he $.^meets Alai?*n,@ a free-thinkin*[g rebel who, a$l)

@ong with his group o-;f youn$@=g Paris,ians, #h,/as opted for a l ,ife of inst -^an@*:t=$ grat^if^`,)icati=:^/on instead ?# of w#)ork and commitm@(ent. At a# party, Bob m,eets a yo:[ung woman#, Mic,? who appe

ar)=#s to b,!)e )just; as$( =,?c[arefree and cy[ -[nical as Alain.* Mic _9s onl`%y dream i  `s to own a luxury ^-car *], and  with Bob's help )\, sh`e manages t( o[`;; find the ,$=money[+%- to$-( b(]ut ,it.$ Mic:=9s friend C)#lo discover,/@s she is pregnant ?and, not^!; knowing who the fat her is+ , s;`%he.  asks Bo#^=b;^-@ t!o marry he;!r. When%\ t_hey :*next meet _at a%; ^]party, Bob an:!d ` Mic deny t#%hat th;:ey; $\have an@y fe el,):ings:* for one\`( another -) a declaration that so_#on leads:/ to tr!/^agedy...　　+\　　Ma,;rc,.@/el C
$!ar]#né i;s widely re?garded^)
as one of t\^he !]standard! bea\r \e[+rs]+)/ $`)of French quali.]ty cinema of the 1930s ],%and 194,. 0 s, respon$^sible for such masterpieces as _,Quai des br/u: ^mes *](1938) and Les/  Enfants du\  [Par-[/adis (194?,5`^). How ir[onic then that%^@:, in 1958, to?wards +the end of h]#$is film-ma_^king career, he should make a film which(+ dared to portr,+-ay [-$the \a]$ ttitudes `a-.nd behavi*our] of the 1950s you) ^th,$ in *a wa#`/!y that e-(ffectively captures the mo*^^od and . sentiment [-of th[e ti--%+m*:e.+,.　　　　Le\\-s Tricheur=s / was a huge[ly cont[roversial film, n^%ot (l^ea`st*, b#ecause of its blatant depiction o_,f a*]dolescent fr)/ee-`[%_love%, a;nd was
/even banne,d#% )in some r(!\egions of France. It a(:=lso re,#ceived\ some intens^.ely unfavo-urable), reviews\;, most /:notably from / the young hothead%=s on the Cahie/-r$$s: du )c`-,/inéma suc(;h as Françoi%s Truf!faut who cited th$i$!s film as a prime+ ] example of t-he: declin@/e of Fren?/ch++ cinema= i nto med*io==c?rit.,
y. In spi\ t/e o/ [f all this n%-e];gat@ive press, the film p+^roved to be an astoni shin
g commercial success, attracting five mill$ion cinema-goers, %.an(d was% =,awarded t#;[h; e Grand P/rix du% _Cinéma^/` f=ra$#nç!ai#s in 1958.　　　　Whilst Le!s Tri)c=;heurs is n ot as flawl;[ess ; =%as;\_( Carné's earl-ier masterpieces, i(t is none] )the):!less a[ significant`% work, ;h)aving t
[\he power ;to both shock a$nd move its^  aud)ience, whil])!st/ h@^aving g*=
reat en\t;
e? %rtai=:nmen@+@t %=value. It/`! evoke] `s t(.he moo d of its(! time in a)@ way that few French \fil=ms of this p`erio(:[d di$(d, dep(icting youn,-=g[\ people as pleasure-seek==ing %?rebels
$.@, rejecting the_# au)!^sterity and disci^,(pline +,?of the 
(previous gener* a?ti:on whi lst pursui:*ng a life )w;?ithout cares, responsibiliti?-es or ,-love. S)^$i(=#\mil*^ar!]ities / 
wi/$t+$h James +Dean's films of the 19-^50s (most notably Reb,.el w+ithout a Cause) a_)%re.. ($app#)a*rent, although Carné's tr,`eatment of yo;)ung (.peopl
e.  is f-ar more abstract - in h!`i,*(s  f[ilm t#!hey merely%)=- symb/,\olise# a wo /rld that has!= ^lost its way, +more ?#o,[)%r less vi_)ctims of po
;st-war prospe[rit^y. Althoug#h_ - the y;oung pe!%op [le + in(
Les :$@Tricheurs l,)ack\ t_)he aut%@henticity to be to_tall!/y cred^;ib:le, the fil\.))m does make  a^:(!n! imp!ortan$t, a?n%d inde$*ed quite disturbing point, about[@  where th\e  permissive societ=)y may \b\e headi^ng),.　　$.
,　　M*^#uch# of the pleasure o))f the) film is in the p=(erformances #from its four^? lead a_cto +]rs, Jac(ques Ch/_arrier, Pas(cale Petit, L/-au, r^/e+%nt T!erzieff ]and/ And..$réa P(=arisy, )++ al+,?though only Terzie`_ff is[ + really con` vinci#ng in his rol[e. M?arcel[$= Carné or::ig inally considered Alain Delon a%.=nd ! Jean-Paul Belm+%ondo f=+:or;_\ +the pa
rts of Bob. and -+*Al ^ain  resp^ectiv ,el#:y, #.( before opting* f !or Charri@\er and Ter];-%z``:ieff.* A$;
s
? a consolat-ion, Carné offered Belmondo a smalle]#r part$ in the film - alas too,@ smal.l
, for the\ actor to be no t .#ic=ed  %by= th]=+e public:. B$elmo! ndo's;.[ b% reakthrough ha;@_d t?o
(:wa? -it u;[\nt!=il the following #/]ye$ar  when he s -t )$arr)(@ed in J\+e `an-Luc Go
 d
)ard' 
s revolutionary ?A bout de^  souffle, a film wh`,(ich_/ . o#ffers a +very differen,t perspec*tive of th]:e youth generati` $_on.