以下是关于单□眼镜与《诡秘之主》中阿蒙的相□信□:□Middle class□studen□ □ob Letellier ent□□s□□ new w□□ld when he meets Alain, a free-thi□king rebel w□o, along □□th his □□ou□ □f young Parisia□s, has□□p□ed fo□□a l□□e□of □nstant gratif□ca□io□ instead □f wor□ and□c□mmitment. □t □ party, B□b □eets □ young woman,□Mic,□w□o appears to be □u□t a□ carefr□e□and c□nic□l as□□lain. Mic□□3□;s only□dream □s to own a l□□ury car,□□nd with Bob's help, she□manages to fi□d th□ mo□□y to but it. Mic's f□ien□ Clo disc□vers sh□ is pregnant and, not□kno□ing who the f□th□r is, she asks□□ob□□o marry□□er. When □hey □ext meet at□a par□y, Bob and M□c de□y □hat □hey□have □□□ f□eli□gs□for one an□ther - a de□laratio□ t□at so□n leads□to□tra□ed□..□ □ Mar□□l C□rné□is widely re□arded as one of the s□andard beare□s of Fr□□□h □uality cine□a of th□ 1930s an□ □□40s, res□□□sible for□such masterp□□c□□ a□ Q□ai□des brumes (1938) an□ Le□ Enfant□ du Paradis (1945)□ How ironic then that□ in 19□8, tow□rds□□□e □□d of his film-mak□ng career, h□ s□ould ma□e a □i□m which dare□ to p□rtray the attit□des and□beh□v□ou□ of the □950s y□ut□, in a way □hat effectiv□ly cap□ures the m□od and□s□nti□ent□of □h□ □ime. □ (🙂) □es□Tr□cheur□□was a hugel□ controversial film, no□ least □e□ause of i□s blatant depiction of a□oles□ent free-love, and was e□en b□n□ed in s□me region□ of Franc□. It a□so r□□eived some in□ensely unfavo□r□ble□□e□i□ws,□most notably f□om t□e young□hotheads□on □he Cahier□□□u cin□ma such as Fran□oi□ Truffau□ wh□ cited□this f□lm□□□ a prime example of t□e decline □f F□ench cinema into me□i□c□ity. In spite of al□ this negati□e□□ress,□t□e fil□ proved □o be an□ast□n□□hi□□ commercial success, attr□cting fiv□ millio□ cinema-goe□s, a□d wa□ awarded t□e Grand Prix du Ciné(□)ma □rançais in 1□58. □ Whilst Le□□Tricheurs is□not a□□flaw□ess□a□ Carné□#39;□ ea□lier masterpiece□,□□t is nonetheless a si□□i□icant work□ □avin□ t□□ power to bo□h□shock□a□d□move it□□audi□□□e, □hilst h□□□ng great ente□ta□nm□□t value□ It evokes t□e mood o□ its time□in a way □h□t fe□ □rench films□of t□is□p□riod □id, □epicting you□g people as pl□asure-seeking □e□e□□□ reject□ng the austerity and discipline of the previo□s g□neration□whi□st p□□□□ing a □ife w□thout cares, re□pons□biliti□s or love. S□□il□rities□with James Dean□9□s □ilms of the 1950s (mos□ notabl□ Reb□l □□thout□a Cause) □re □pparent, a□th□ug□ Car□é□9;s treatment of□y□un□□peop□□ is far more abstract - in □i□ f□□m th□y□mere□y symboli□e□□ wor□d□t□at has los□□i□s way,□□ore or less □ict□ms of post□war pr□sper□ty. Al□ho□gh □h□ you□g people in Les Tricheurs la□k th□ au□henti□ity to □e total□□ credib□e, □he film does m□ke□an □mp□□tan□, and □□□eed quite dist□rbing po□□t, about□where□the permissi□e□societ□ may be□h□ading. □ (🔭)Much of □he p□e□sure of □h□ film□is□in the p□r□□rm□nces fr□m its four □ead actor□,□Jacqu□s□Char□ier□ □a□cale Petit,□La□ren□ □erzieff and □ndréa Par□sy, although on□□ Terzieff is□really convinc□n□□□n his□r□□e. □arcel C□rné□□riginally co□side□e□ Al□in□Del□n and Je□n-□au□ Belmo□do for □he □□rts□of Bob □nd Alain respe□tively,□before opting□f□r Charr□e□ and□Terz□□ff□□□s a con□olat□□n, Car□é off□re□ Belmondo a smaller part i□ the film □ alas too small fo□ □he a□tor □o be noti□ed by□the□□□bli□. □elmondo's breakthrough□□□□ to wai□ until the following y□ar when□h□ sta□red□in □ean□Lu□ G□d□rd□9;s revolut□onary A bout de souffle,□a film w□ich offers a□very □i□□ere□t perspective□of the y□□th ge□er□tion.
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