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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 stu; -d:ent Bob Letellier e !nte[/(r(_+ s a new worl/ d when he m*$eets Alain, a free .#-thinkin;g rebel who, al =ong w[)_] ith his group o(f young Paris!?!ia)ns, has opted #fo !r a life of inst# ]ant gratification \^instea :d of wor\# k: and c[om $mi =#tment. At_$ a party, Bob m $eets+\ a y;(!oung woman, Mic, who ap-*pears $ to b ? e )-j:#@ust a@?s caref)=ree - and cy*`ni$?\cal as A `(l__ain,!(.;= Mic's *$only[:( dream is t \)o [o `/!wn _\a luxury]+-# car^ ,#/[ an@d wit_h Bob's= help(, she manages to find the mo)] ney to but it. M#_ $ic]^\@,'s friend Clo +%dis[cov?+?ers she is* pregnant an. d, not knowi$%ng wh o the father is, she asks Bob to \ :marry her. When the@y n+e xt me_et # )at a ;: par`#ty, Bob a nd Mic deny that they have a;] ny feeling`+ s for one another -( % a dec laration \t*[hat soon le):ads to @=trage dy... ` Mar$( =ce l^ #\Carné is% widely regar ded as one o f $- t*[^+he #sta (ndar+/d bear]@;ers of French quality cinema of th#e 1930s and 1940s, responsible for such mas *%terpi#ec[es as Quai +!d#es brume`!s (= 1938) and Le)? [s Enf?#ants du Paradis (1945). How ironic !the .n that,[^* in 1958, towa?rds the end of? ,^ his(] ` film -ma *[king career, ;/he s+h ^ou \ld ma,ke a film wh,`!ich dar ed t !o portray the attitudes#^\( +and beha# `viour of the 195 +#0s youth, ^i .n a; way )that effectively ? c ]aptures the =mood a] nd _[sentiment of the ti=@me. Le[.[ s T+rich+ eurs was a hugel y con/tr##%ove!=r @s:*@-ial film, not leas,?%t beca)(use of its blatant d# $epiction +of @ad!oles^: /c.:ent free-love-@^=, =and wa: s even banned in !s(ome reg%%ions @!of Franc e)+*. %$It also r^ ^ ecei=ved some_ intensely unfavo ]=urable reviews, (!.m# [ost notably fr% )o =m))* the _ you^`ng hotheads on\; the ?+ ]Cahiers d=u cinéma #.s `)_uch *.;as Franç^oi;)s Truffaut who cited this ! fil-m` as a prime `example of the decli^]ne ]+of French c#(=ine` ma ^ int $o mediocrity.\ In sp\+.i@te of a?ll this `. negative press, the). ;\film proved to be an astonishing commerc ;ial s)ucc% /ess, attracti!ng five mi\ llion : cinema-g\$o++er s_:, ] an, d `,?--was aw-arded the +(Gran#d Prix du Cinéma français in 1958. [ Whil.s$_:t Les* Tr#@icheurs . @ is? not as flawl ess ;,as . Carné*@[;'s @;e arlier m#_/asterpieces, it is n onetheles/s a si];*?gnificant work, havi[ng the po w%:;er to both shoc::k and m (ove it,+^s au+([)di .en ce, w#hilst h^$?a$:))ving grea-t entertainm])ent(+ v=;:] alue [ . It evokes the mood of,* its time in a wa:[ )y that] f# e; w # French fil% ms of this pe` riod= d)id?,? \ d(*+epictin_\g young people !;as pleasure-seek_ing] rebels, rej$ecting_/@. the a )uster+:=/ity ]and d isci)?pline of the pre!^vious generatio/n_% wh, il %*s]\t pur.`s!?uing a lif! + e w`@ithout\(\)! ca*;(:%res, @ `responsibil;: iti(= es or love.*?,] Simi+^l /?-ari ties with James Dean's films of the 1950s (most n%otably Rebel without a Cause) a+ re :*?app @arent, $ alt\hough Carné^-'s treatm*en] t of young people %:`is f ar [ mor )@e abstract %]- in] ? his film th_ey me$ r$+ ely symb(! =ol]$is[ /e ( a world that . has l\\ost its w.) ay, ,(]mo ,re or le]s s vic ^ tims of po. ;st-war pros*+%p_ erity. A]] lthough) the `!y ,$oung +@/peo_?ple in Le**;s Tric[^#heurs la)ck the, authenti$:=?city to$: be to^+@tall*y credib?,(le, the #/*film d, oes ma\ ke an important, and =i ^ndeed quite disturbi-#(ng poi[%n`]t, about where` the -!p\ %er,missiv` e s ociety; may be! h @eading. \-%Mu ch of the ple) `a) !sure of t\he fi:;lm is in t!he performance]s from it:$s= / f(@;-o,$ur%; l*ead ac +tors, ?Ja ( cque..s Charrier, P* a$[scale $^?Pe- tit, La[ +urent Terz%ieff and Andr]* éa Parisy, altho)(ugh only Terzieff] is real=$ly^ c#:o!#n-vincing in his :^role. Ma=_+rc \ (`el Carné orig `in% al(==ly con]#;si\=dere ; d . Al= ain !#Delon`` and Je^an-P#`a-ul Belm ondo for the parts of Bob and Alain respectively, before ]*\op`/. ting for Charrier and T,erzieff. As a consolation%$, Car.né of-$)=fered Be[ %lmon!=@do a s;_maller # part -#i+.n the; fi=`@=lm - a,las too small f]($or the a^ctor+ to b_e $ [,_n^oti^ced by the `%!publ`% ic. Belmondo^'s :brea$k ` through had to wait until )-%the following year%* when $he starred: ? in Je=)an-Luc Godard's revolutiona?[*ry A[ bou. t de souffle, a f)@/ilm which offer$+s a very diff`) erent perspec!/tive of the youth generat ].ion.
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（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 stu; -d:ent Bob Letellier e !nte[/(r(_+ s a new worl/ d when he m*$eets Alain, a free .#-thinkin;g rebel who, al =ong w[)_] ith his group o(f young Paris!?!ia)ns, has opted #fo !r a life of inst# ]ant gratification \^instea :d of wor\# k: and c[om $mi =#tment. At_$ a party, Bob m $eets+\ a y;(!oung woman, Mic, who ap-*pears $ to b ? e )-j:#@ust a@?s caref)=ree - and cy*`ni$?\cal as A `(l__ain,!(.;= Mic's *$only[:( dream is t \)o [o `/!wn _\a luxury]+-# car^ ,#/[ an@d wit_h Bob's= help(, she manages to find the mo)] ney to but it. M#_ $ic]^\@,'s friend Clo +%dis[cov?+?ers she is* pregnant an. d, not knowi$%ng wh o the father is, she asks Bob to \ :marry her. When the@y n+e xt me_et # )at a ;: par`#ty, Bob a nd Mic deny that they have a;] ny feeling`+ s for one another -( % a dec laration \t*[hat soon le):ads to @=trage dy... ` Mar$( =ce l^ #\Carné is% widely regar ded as one o f $- t*[^+he #sta (ndar+/d bear]@;ers of French quality cinema of th#e 1930s and 1940s, responsible for such mas *%terpi#ec[es as Quai +!d#es brume`!s (= 1938) and Le)? [s Enf?#ants du Paradis (1945). How ironic !the .n that,[^* in 1958, towa?rds the end of? ,^ his(] ` film -ma *[king career, ;/he s+h ^ou \ld ma,ke a film wh,`!ich dar ed t !o portray the attitudes#^\( +and beha# `viour of the 195 +#0s youth, ^i .n a; way )that effectively ? c ]aptures the =mood a] nd _[sentiment of the ti=@me. Le[.[ s T+rich+ eurs was a hugel y con/tr##%ove!=r @s:*@-ial film, not leas,?%t beca)(use of its blatant d# $epiction +of @ad!oles^: /c.:ent free-love-@^=, =and wa: s even banned in !s(ome reg%%ions @!of Franc e)+*. %$It also r^ ^ ecei=ved some_ intensely unfavo ]=urable reviews, (!.m# [ost notably fr% )o =m))* the _ you^`ng hotheads on\; the ?+ ]Cahiers d=u cinéma #.s `)_uch *.;as Franç^oi;)s Truffaut who cited this ! fil-m` as a prime `example of the decli^]ne ]+of French c#(=ine` ma ^ int $o mediocrity.\ In sp\+.i@te of a?ll this `. negative press, the). ;\film proved to be an astonishing commerc ;ial s)ucc% /ess, attracti!ng five mi\ llion : cinema-g\$o++er s_:, ] an, d `,?--was aw-arded the +(Gran#d Prix du Cinéma français in 1958. [ Whil.s$_:t Les* Tr#@icheurs . @ is? not as flawl ess ;,as . Carné*@[;'s @;e arlier m#_/asterpieces, it is n onetheles/s a si];*?gnificant work, havi[ng the po w%:;er to both shoc::k and m (ove it,+^s au+([)di .en ce, w#hilst h^$?a$:))ving grea-t entertainm])ent(+ v=;:] alue [ . It evokes the mood of,* its time in a wa:[ )y that] f# e; w # French fil% ms of this pe` riod= d)id?,? \ d(*+epictin_\g young people !;as pleasure-seek_ing] rebels, rej$ecting_/@. the a )uster+:=/ity ]and d isci)?pline of the pre!^vious generatio/n_% wh, il %*s]\t pur.`s!?uing a lif! + e w`@ithout\(\)! ca*;(:%res, @ `responsibil;: iti(= es or love.*?,] Simi+^l /?-ari ties with James Dean's films of the 1950s (most n%otably Rebel without a Cause) a+ re :*?app @arent, $ alt\hough Carné^-'s treatm*en] t of young people %:`is f ar [ mor )@e abstract %]- in] ? his film th_ey me$ r$+ ely symb(! =ol]$is[ /e ( a world that . has l\\ost its w.) ay, ,(]mo ,re or le]s s vic ^ tims of po. ;st-war pros*+%p_ erity. A]] lthough) the `!y ,$oung +@/peo_?ple in Le**;s Tric[^#heurs la)ck the, authenti$:=?city to$: be to^+@tall*y credib?,(le, the #/*film d, oes ma\ ke an important, and =i ^ndeed quite disturbi-#(ng poi[%n`]t, about where` the -!p\ %er,missiv` e s ociety; may be! h @eading. \-%Mu ch of the ple) `a) !sure of t\he fi:;lm is in t!he performance]s from it:$s= / f(@;-o,$ur%; l*ead ac +tors, ?Ja ( cque..s Charrier, P* a$[scale $^?Pe- tit, La[ +urent Terz%ieff and Andr]* éa Parisy, altho)(ugh only Terzieff] is real=$ly^ c#:o!#n-vincing in his :^role. Ma=_+rc \ (`el Carné orig `in% al(==ly con]#;si\=dere ; d . Al= ain !#Delon`` and Je^an-P#`a-ul Belm ondo for the parts of Bob and Alain respectively, before ]*\op`/. ting for Charrier and T,erzieff. As a consolation%$, Car.né of-$)=fered Be[ %lmon!=@do a s;_maller # part -#i+.n the; fi=`@=lm - a,las too small f]($or the a^ctor+ to b_e $ [,_n^oti^ced by the `%!publ`% ic. Belmondo^'s :brea$k ` through had to wait until )-%the following year%* when $he starred: ? in Je=)an-Luc Godard's revolutiona?[*ry A[ bou. t de souffle, a f)@/ilm which offer$+s a very diff`) erent perspec!/tive of the youth generat ].ion.