Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...
Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.
Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.
Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.
Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
影片中血浆横飞惨叫连声，
说真的，男主那一脚下去我都可怜同情坏人了，哈哈哈哈。
老爹语录
在挪威风光宜人的林湖小屋中，一对即将破产反目为仇为争夺对方的保险金即将你死我活的夫妻，在被三个越狱的杀人不眨眼的罪犯斗智斗勇中，依靠男主父亲挺身而出慷慨赴死的精神鼓舞，杀死了越狱的罪犯，重新获得爱情和事业。
刚刚看完老亨利，来看这部被吹上天的片子，卧槽他妈，都特么是谁给这么无聊的北欧语言片子高分，你们这些文艺狗币，浪费我时间，北欧人一直得奖，却从来不知道电影该怎么拍，一直再玩心里文艺，去他妈去的，要是想过瘾，千万别来看这个片子。三十分钟后，才进入正片。
老爷子真的加分。
血腥加反转，不过主角光环浓了点，父亲惨死也轻描淡写。
3.5 患难夫妻解锁财富新密码 硬核老爹最后也要爬到吊床上断气 多亏三个阁楼飞天小男囚的出现
当“史密斯夫妇”狭路勇挑“逃狱三王”？！夫妻俩互杀吐槽撕逼的桥段、老婆拯救人渣丈夫菊花的桥段还蛮有趣。当故事进入反杀阶段，全员比赛智商扑街，剧中唯二的硬汉老爹最后挣扎着爬上湖畔的吊床迎着朝阳求仁得仁，一边对儿子说“你是我的骄傲”，一边恐怕在怨念“老夫当年怎么不把你射在墙上！”剧中最猛硬汉逃犯大佬挨了一钉耙再被螺旋桨暴击竟然还可以吊打四方不臣，原来真正的主角光环在他身上。“史密斯夫妇”利用杀戮战场登上事业巅峰，过上了甜蜜幸福的生活，安徒生大法真真是秒赞啊。最后戏中戏翻拍的主角用上了肌肉男黑小哥，嘲弄了一把“政治正确”，顺便把菊花保卫战改成了黑侠大翻身。嗯哼，混好莱坞的果然都是些不要脸的扑街。台词、配乐、剪辑和节奏掌控为片子增色不少。《死亡之雪1/2》也是这厮执导的，操弄番茄酱的风格神形俱佳。
四级反转，坑爹的衰仔导演和演技浮夸的演员妻子的逆袭之路。
即角色一次出清的太快，让后面的部分失掉了不可预见性，胃口就吊不起来了。
血腥到位。虽然是情节无新意，但卡点很准，节奏点踩的挺好。3星半。
作为埃莲娜早期的作品
难得听到拉佩斯讲自己的母语😂Ooops挪威语不是瑞典语
维京人果然是很能打的，就是老爷爷死得太可惜了唉
时空逻辑永远不是线性逻辑 切割打破重组不是技巧 是基础
如果两个人出了问题这么解决能重归于好的话我也愿意。
优美的风景衬托血腥的场面，讽刺自私的爱情。心疼老爹，感觉他才是电影里唯一正面的人物。以及，那三个台球到底是藏在哪里了？
当“史密斯夫妇”狭路勇挑“逃狱三王”？！夫妻俩互杀吐槽撕逼的桥段、老婆拯救人渣丈夫菊花的桥段还蛮有趣。当故事进入反杀阶段，全员比赛智商扑街，剧中唯二的硬汉老爹最后挣扎着爬上湖畔的吊床迎着朝阳求仁得仁，一边对儿子说“你是我的骄傲”，一边恐怕在怨念“老夫当年怎么不把你射在墙上！”剧中最猛硬汉逃犯大佬挨了一钉耙再被螺旋桨暴击竟然还可以吊打四方不臣，原来真正的主角光环在他身上。“史密斯夫妇”利用杀戮战场登上事业巅峰，过上了甜蜜幸福的生活，安徒生大法真真是秒赞啊。最后戏中戏翻拍的主角用上了肌肉男黑小哥，嘲弄了一把“政治正确”，顺便把菊花保卫战改成了黑侠大翻身。嗯哼，混好莱坞的果然都是些不要脸的扑街。台词、配乐、剪辑和节奏掌控为片子增色不少。《死亡之雪1/2》也是这厮执导的，操弄番茄酱的风格神形俱佳。
血腥加反转，不过主角光环浓了点，父亲惨死也轻描淡写。
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