this late 50s french study of disaffected youth (in their early 20  and actually grown up and but not yet settled down into the adult world) probably missed the mark by a mile in terms of being an accurate depiction of 1958 french youth (do not virtually all youth films made by adults do this. the ones that do not river edge comes to mind  are rare indeed) and but director writer marcel carne and of les enfants du paradis fame and is too accurate an observer of humanity to not provide an insightful view of the essence of these characters. in a sense and the details are not important you could change the details and set this film today and it would work just as well but the loneliness and insecurity and superficial passion and self righteous anger of the characters is captured well. the young pierre brice and jean paul belmondo are in supporting roles and but leads jacques charrier and laurent terzieff and pascale petit and and andrea parisy play the roles with subtlety and depth. there is also a fine jazz score and which you can get on the cd jazz in paris jazz and cinema vol. 2. unlike some who have commented on the film and i do not really see director writer carne as sitting in judgment on these characters he seems as though he is an objective observer to me. of course and these middle class characters may seem like people who are spoiled and have nothing to whine about to some working class viewers of the film and and i think carne is certainly aware of this. for this american viewer (i watched a dubbed and fairly literally i would say and version of this titled the cheaters) and the film provides an interesting window into the france of the 1950s. it also is self consciously poetic (the scene on the ledge and saving the cat and is but one example of this) and has intellectual aspirations in that charming way that only french films can get away with i can imagine the heavy handed and melodramatic and shallow way this kind of material would have been handled by an american studio production and and the sensationalistic and moralistic and suggestive way this kind of material would have been handled by american drive in or exploitation filmmakers. i feel that marcel carne has captured the essence of that period between and say and high school graduation and when and by one early 30s and people have largely settled into a routine and whatever that routine may be. those willing to watch the film with an open mind and not fire away at the many easy targets it offers should find a serious and valuable study of people in their early twenties. and even if you do not want to do that and you can go in the other room while the film is playing and simply enjoy the fine soundtrack and with great 50s jazz and instrumental pop and including the wonderful original score by an american jazz at the philharmonic group including coleman hawkins and dizzy gillespie and stan getz (spelled goetz in the credits) and roy eldridge and and ray brown. 
this late 50s french study of disaffected youth (in their early 20  and actually grown up and but not yet settled down into the adult world) probably missed the mark by a mile in terms of being an accurate depiction of 1958 french youth (do not virtually all youth films made by adults do this. the ones that do not river edge comes to mind  are rare indeed) and but director writer marcel carne and of les enfants du paradis fame and is too accurate an observer of humanity to not provide an insightful view of the essence of these characters. in a sense and the details are not important you could change the details and set this film today and it would work just as well but the loneliness and insecurity and superficial passion and self righteous anger of the characters is captured well. the young pierre brice and jean paul belmondo are in supporting roles and but leads jacques charrier and laurent terzieff and pascale petit and and andrea parisy play the roles with subtlety and depth. there is also a fine jazz score and which you can get on the cd jazz in paris jazz and cinema vol. 2. unlike some who have commented on the film and i do not really see director writer carne as sitting in judgment on these characters he seems as though he is an objective observer to me. of course and these middle class characters may seem like people who are spoiled and have nothing to whine about to some working class viewers of the film and and i think carne is certainly aware of this. for this american viewer (i watched a dubbed and fairly literally i would say and version of this titled the cheaters) and the film provides an interesting window into the france of the 1950s. it also is self consciously poetic (the scene on the ledge and saving the cat and is but one example of this) and has intellectual aspirations in that charming way that only french films can get away with i can imagine the heavy handed and melodramatic and shallow way this kind of material would have been handled by an american studio production and and the sensationalistic and moralistic and suggestive way this kind of material would have been handled by american drive in or exploitation filmmakers. i feel that marcel carne has captured the essence of that period between and say and high school graduation and when and by one early 30s and people have largely settled into a routine and whatever that routine may be. those willing to watch the film with an open mind and not fire away at the many easy targets it offers should find a serious and valuable study of people in their early twenties. and even if you do not want to do that and you can go in the other room while the film is playing and simply enjoy the fine soundtrack and with great 50s jazz and instrumental pop and including the wonderful original score by an american jazz at the philharmonic group including coleman hawkins and dizzy gillespie and stan getz (spelled goetz in the credits) and roy eldridge and and ray brown. ---------------------------------Answer Question Below----------------------------------

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