剧情简介
《不安分的年轻%@人们》讲述的是什么故事？
《不安分的年轻%@人们》Mid)dle class s+!#tudent Bob Letel#/lie]=$ r e-nters a n ew world when he m) *ee,;ts A- #lain, a free- )thin.ki #:\:ng^ , rebe;\]_l =who_-@, !along w .ith -hi]s group ? \of young Parisians, h`as opted for *\% a +life of ins :tant gr atific,]#ation ) instead of work and commi\tment^%+. ( At a party*, Bob meets a; @ young wom* a`\(/n, Mic= %, who ; appears\*(^ (to * be -^j ust as care`free a+?n d *_*cynical a)s Al$=ain. ^:Mic'$ s only d *re am is to own,! # a *+luxury ;c(./ar,! and with Bo !b's @,\ help, she manages to find the money to ^.[but it. Mic'; s(:] friend C lo d;:isc?^overs s;\he is^ p^re]/ gnant and, n$ )ot knowing who, t#`* he father is, ?@(, she a #s`.ks Bob [^:to mar.) ry her\ . When they( next meet at %[;a party, ^# B@,ob/=) %and Mic :) deny that th` ey have =an ^y fee_?lings for one /@# another. [ - a declara_ tion that so ,on lead-(!s to trag! edy... Mar: cel# Carné is ^wid@`.ely r? egarded as +=-one o[ *f the sta`;ndar d be]arers of Fre$-n, `ch quality cinema:= ; of the# 1930s and 194 `0s`.!, #re sp ] onsible f`or#:$ su/;ch= masterp!@ieces as Quai des\ bru#mes( (1938) an@d L,#%es E*? n- ,(fants du P* a^radis (1945).% How ironic then that\!,]), i-n 1958, ( towa\%. r!?ds .the end%%! of !his. film-making caree )r, . !%h?e# + should make a film whi=:(ch dared to portray the attitudes a_nd \behav-`iour of the 1950s you-$th, @in a w-:ay that ef=! fectively captures t[ ^he mood and #:+sentiment o f the ti=; me. Le [;s Tr ,`$?i@\cheurs $@was a^; hugel y co :ntrov[_*(ersial film, not least;* ; because of its)` blat::ant .:.de =+pi:/ ction of adolescent! + free-love, and was e^^(ven* [ bann , e.d in some regions of France. It also received some ? int]ensel. y u.(nfa].\.vou=+rable review=/s, mos `t not a =b )ly _ %\from t# @he young ho% ;t $hea(ds o.n \_t`!he C_+ ]ahi/\ers , \du cin*)@ém , a su ch as François \ Truffaut?% w.:-ho c:^ited this[^. film as_ a _-,/ prime example\;/ of the decline of ( $)=French cinema int\`/o ,^mediocr+i%.=ty ^. In spit;:@e of]] ; a\ll th; [is negati_\ve press, the fil m ]*?^proved to be an aston_ )i\?shi! ;ng co?^.mme=/=r)(cial success!;, attracting fiv[! e million% ;_cinema-goers, and was award[e;=d the\ Grand Pri @x` du ;(Cin )+éma français in 1958+. Wh` ils^ [?t Les Triche+urs is n)(o:t a$(_s flaw /less as Carné's ea[^rl-i?[er ma!:sterpieces, it is nonet\[:heless a significant w-[ork, having t [he ,@_p^[;+owe r t+?o bo$ th shock and move its a_udie,%?nce, wh*]\=ilst having great entert=a`inment value. I_/%t evok].es th e mood of i - ts t./?ime \.i- n,^\[ (a wa!y , th= \at _(= few French fi#: lms@* of t^his period d$id, depict*$%)ing y!ou(ng people as pleasure)-seekin g?[ rebel s(?, r+! ejecting th?;@e _(/austeri _ty and d``;isc \ ^i^plin:e of t/he% ? pre#-_vio+_us gen)!eration whilst pursuing a :`\l-?\i!,%fe without cares, . responsibilities o\)r love. Similarities with Jam ?# es/ Dean' /s films of the 195-0s (most n *(ot+# ably R ,ebel.%*;[ without a Cau]/ se) a /re apparent, alt^ houg[^h[$ Carné's `+\t%reatment of _`young p!_$eople is far mor.e abstr=act - in his film they mere- .l\-y =%)symbolise a world that has*+ lost i_ ts way, more %+or les@/;s vi ctims of post-[%wa:r ) pr#=os+pe (;rity. [Althou^gh the : yo ung %` peo ple [in ( Les _:Trich[]eurs l?*a ck \! the authenticity to be totally c/redib`l ),.e[_=:, the fi ? lm ;d@ o? ?es []make an important, and indeed quite di*):stur`==bing *_=point, about where[% the permissive soci__@ety m]/a ) y be headin [/g#(!\. !Muc` h of the \p.!leasure of the film ^is in the perform_]an?`+c\e*s f# ]ro* m its f@!\our lead actor)=s, Jacque .^.s Charrier, Pasca;%le Petit, L aurent Terzieff and And#( réa Parisy, :)a%@ltho:. , ugh only Terzieff is rea)lly convincing in hi. s role. ,;,Marcel C $arné or($[iginall.=y .,;considered Alain De;lon and Jean-Paul Belmondo .:- for the par[ts^!_ of Bob ?(@and Alain respectively, be fore opting* fo=-r C@harr[\#ier/\ a(nd Te+,+r.!]zie -ff.+ ; (@A=!_ s a consolati? = ]o- ?n:,? -, Car,,n #é + of +;fe .red Be]l!! mondo a s- -,mall@;.er part ])in t-[_]he film - al]^[as too small for th% e actor to be noticed[ / by the public. Belmondo's b reakthrough had/%\? to= ` wa !$$:it until the #f:$[ollo^ win^_g`: year wh$?en he star red in Jea+ n-L + uc God ar*]d's r?evolutionary A bout #.de s@$ouffle, a film w%!hich of ]-fe?=rs a very differen t perspectiv @[ e_$ / of, ][( t\,#he youth generation.
一、《不安分的年轻%@人们》是哪一年上映的？
《不安分的年轻%@人们》是马塞尔·卡尔内于1958年拍摄的一部经典剧情片。此片开创法国当代剧情片的先河，《不安分的年轻%@人们》上映时票房稳坐前三，创下当年纪录。当时帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔均为最佳主角，帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔以精彩演技和突出形象，奠定在法国影坛地位。帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔饰演角色造型多年后仍为人所模仿。马塞尔·卡尔内之前曾被人怀疑其能力，而《不安分的年轻%@人们》却奠定马塞尔·卡尔内剧情片风格。《不安分的年轻%@人们》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1958年代）法国（法国）优秀剧情片齐名。
二、被称为剧情片的开先河之作的《不安分的年轻%@人们》，是马塞尔·卡尔内最好的作品吗?
从马塞尔·卡尔内斩获剧情片最佳导演 我就觉得这部《不安分的年轻%@人们》是他最好的剧情片。虽然马塞尔·卡尔内后来还拍出来了评价特别好的剧情片，但是《不安分的年轻%@人们》是他剧情片的代表作品。
三、《不安分的年轻%@人们》为什么可以成为经典？
提起法国，人们就肯定会说出《不安分的年轻%@人们》的名字。这部由马塞尔·卡尔内导演，帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔主演的《不安分的年轻%@人们》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。为何会这么说，我想，就连马塞尔·卡尔内导演和帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔，都没想到这部剧情片会得到这样好的反响。马塞尔·卡尔内先生曾说过，这是一群失意的人凑到了一起创作出来的一部作品。因为在《不安分的年轻%@人们》开拍之前，帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔已经有几年年无戏可拍，而帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔主演的剧情片，票房始终不理想，这样的几个人凑在了一起，也真是缘分！所以，正是这样的失意感和强烈的自尊心，他们在剧情片中投入的热情，是我们难以想象的，其实《不安分的年轻%@人们》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典剧情片，也成就了他们自己！
四、如何评价《不安分的年轻%@人们》?
《不安分的年轻%@人们》口碑非常好深受广大观众喜爱，《不安分的年轻%@人们》一经播放立刻引来无数人点赞，不仅帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔演的好而且该剧情片故事情节也非常紧凑，星空影院（www.msdts.com）观看起来特别流畅同时还能扣人心弦，虽然目前《不安分的年轻%@人们》收视率一般但是该片目前受欢迎程度已经名列前茅。该剧情片主演帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔，她在该剧情片中的演技可圈可点，受到帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔演的好而且该剧情片迷的认可。
五、《不安分的年轻%@人们》剧情片的主要内容
《不安分的年轻%@人们》是一部剧情片剧情片，由导演：马塞尔·卡尔内执导，主演：帕斯卡尔·普缇,安德丽·帕里西,雅克·夏里尔,洛朗·特兹弗,让-保罗·贝尔蒙多,达妮·萨瓦尔
《不安分的年轻%@人们》Mid)dle class s+!#tudent Bob Letel#/lie]=$ r e-nters a n ew world when he m) *ee,;ts A- #lain, a free- )thin.ki #:\:ng^ , rebe;\]_l =who_-@, !along w .ith -hi]s group ? \of young Parisians, h`as opted for *\% a +life of ins :tant gr atific,]#ation ) instead of work and commi\tment^%+. ( At a party*, Bob meets a; @ young wom* a`\(/n, Mic= %, who ; appears\*(^ (to * be -^j ust as care`free a+?n d *_*cynical a)s Al$=ain. ^:Mic'$ s only d *re am is to own,! # a *+luxury ;c(./ar,! and with Bo !b's @,\ help, she manages to find the money to ^.[but it. Mic'; s(:] friend C lo d;:isc?^overs s;\he is^ p^re]/ gnant and, n$ )ot knowing who, t#`* he father is, ?@(, she a #s`.ks Bob [^:to mar.) ry her\ . When they( next meet at %[;a party, ^# B@,ob/=) %and Mic :) deny that th` ey have =an ^y fee_?lings for one /@# another. [ - a declara_ tion that so ,on lead-(!s to trag! edy... Mar: cel# Carné is ^wid@`.ely r? egarded as +=-one o[ *f the sta`;ndar d be]arers of Fre$-n, `ch quality cinema:= ; of the# 1930s and 194 `0s`.!, #re sp ] onsible f`or#:$ su/;ch= masterp!@ieces as Quai des\ bru#mes( (1938) an@d L,#%es E*? n- ,(fants du P* a^radis (1945).% How ironic then that\!,]), i-n 1958, ( towa\%. r!?ds .the end%%! of !his. film-making caree )r, . !%h?e# + should make a film whi=:(ch dared to portray the attitudes a_nd \behav-`iour of the 1950s you-$th, @in a w-:ay that ef=! fectively captures t[ ^he mood and #:+sentiment o f the ti=; me. Le [;s Tr ,`$?i@\cheurs $@was a^; hugel y co :ntrov[_*(ersial film, not least;* ; because of its)` blat::ant .:.de =+pi:/ ction of adolescent! + free-love, and was e^^(ven* [ bann , e.d in some regions of France. It also received some ? int]ensel. y u.(nfa].\.vou=+rable review=/s, mos `t not a =b )ly _ %\from t# @he young ho% ;t $hea(ds o.n \_t`!he C_+ ]ahi/\ers , \du cin*)@ém , a su ch as François \ Truffaut?% w.:-ho c:^ited this[^. film as_ a _-,/ prime example\;/ of the decline of ( $)=French cinema int\`/o ,^mediocr+i%.=ty ^. In spit;:@e of]] ; a\ll th; [is negati_\ve press, the fil m ]*?^proved to be an aston_ )i\?shi! ;ng co?^.mme=/=r)(cial success!;, attracting fiv[! e million% ;_cinema-goers, and was award[e;=d the\ Grand Pri @x` du ;(Cin )+éma français in 1958+. Wh` ils^ [?t Les Triche+urs is n)(o:t a$(_s flaw /less as Carné's ea[^rl-i?[er ma!:sterpieces, it is nonet\[:heless a significant w-[ork, having t [he ,@_p^[;+owe r t+?o bo$ th shock and move its a_udie,%?nce, wh*]\=ilst having great entert=a`inment value. I_/%t evok].es th e mood of i - ts t./?ime \.i- n,^\[ (a wa!y , th= \at _(= few French fi#: lms@* of t^his period d$id, depict*$%)ing y!ou(ng people as pleasure)-seekin g?[ rebel s(?, r+! ejecting th?;@e _(/austeri _ty and d``;isc \ ^i^plin:e of t/he% ? pre#-_vio+_us gen)!eration whilst pursuing a :`\l-?\i!,%fe without cares, . responsibilities o\)r love. Similarities with Jam ?# es/ Dean' /s films of the 195-0s (most n *(ot+# ably R ,ebel.%*;[ without a Cau]/ se) a /re apparent, alt^ houg[^h[$ Carné's `+\t%reatment of _`young p!_$eople is far mor.e abstr=act - in his film they mere- .l\-y =%)symbolise a world that has*+ lost i_ ts way, more %+or les@/;s vi ctims of post-[%wa:r ) pr#=os+pe (;rity. [Althou^gh the : yo ung %` peo ple [in ( Les _:Trich[]eurs l?*a ck \! the authenticity to be totally c/redib`l ),.e[_=:, the fi ? lm ;d@ o? ?es []make an important, and indeed quite di*):stur`==bing *_=point, about where[% the permissive soci__@ety m]/a ) y be headin [/g#(!\. !Muc` h of the \p.!leasure of the film ^is in the perform_]an?`+c\e*s f# ]ro* m its f@!\our lead actor)=s, Jacque .^.s Charrier, Pasca;%le Petit, L aurent Terzieff and And#( réa Parisy, :)a%@ltho:. , ugh only Terzieff is rea)lly convincing in hi. s role. ,;,Marcel C $arné or($[iginall.=y .,;considered Alain De;lon and Jean-Paul Belmondo .:- for the par[ts^!_ of Bob ?(@and Alain respectively, be fore opting* fo=-r C@harr[\#ier/\ a(nd Te+,+r.!]zie -ff.+ ; (@A=!_ s a consolati? = ]o- ?n:,? -, Car,,n #é + of +;fe .red Be]l!! mondo a s- -,mall@;.er part ])in t-[_]he film - al]^[as too small for th% e actor to be noticed[ / by the public. Belmondo's b reakthrough had/%\? to= ` wa !$$:it until the #f:$[ollo^ win^_g`: year wh$?en he star red in Jea+ n-L + uc God ar*]d's r?evolutionary A bout #.de s@$ouffle, a film w%!hich of ]-fe?=rs a very differen t perspectiv @[ e_$ / of, ][( t\,#he youth generation.