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以下是一些套路反套路的古言小说推荐：□iddle □lass student Bob Lete□l□er enters a□new world□w□□n he mee□s Alain, a free-□hin□ing □ebel □h□□ alon□ with□h□s g□ou□ o□ □oung□Parisians, has opted □or a life□of □n□□ant gra□i□i□at□on inst□ad□of □or□ an□ com□itm□nt. At a pa□□□, Bob meets a □ou□g woman□ □ic, □ho appea□s to be just as c□r□□re□ and cyni□al as □lain. □ic□;s only □ream is to ow□□a luxur□ ca□, and with□Bob's □el□, sh□ mana□es □o fin□ the □oney □o but□it. Mic&□□9;s friend Clo discove□s she is pregnant □nd, n□t know□□g w□o the□f□the□ is, she asks Bob t□ ma□ry□he□. □hen they n□xt □eet at a p□□ty,□Bob a□d □ic deny th□t the□ ha□□□any feel□ngs for □ne anot□er -□a declarat□on□tha□ soo□ l□ads to □r□ge□y.□. Marcel Carné is wi□el□□□egarded as □□e of the standard bearers of Frenc□ qu□□ity cinema of t□e 1930s and 19□0s, respons□ble □or such mast□□pi□ces□as Qua□ des brumes (1□38) and □es En□ants□d□ Paradis (1945)□□How ir□ni□□then □hat□ in 19□8, t□wards th□ end of his film□m□k□ng□□areer, □e should make a f□lm which □ar□d□t□ portray the□□ttitudes and behavi□u□ of □he 1950s □outh, in a □ay that effective□y captures the□mood and sentime□t of □he ti□e. Le□ Triche□rs was□a hug□ly controversial fil□, □ot least be□ause of it□ blata□t depiction□o□ □dole□□□nt free-love, and was □ven ba□ned□in □□me□re□i□ns of□Fr□nce. It also□received□□ome i□tensely□unfavoura□le rev□ews, □ost□n□tably f□om the y□ung hoth□□□s□on th□ Cah□ers du□ciné(👩)ma □uch as F□ançois Truf□□ut who cited□this film as a prime ex□mpl□ □f the decline of□Fre□□□ cinema in□o □ediocrity. □n s□ite□o□ all this negative press, the film □rove□ t□ b□ a□ as□onishing commerc□al success, attrac□ing□five million cinem□-goers, and was □warded □he Grand P□ix d□ Ci□é□a français□□n□1958. Whi□st Les Tricheu□s is not as f□a□less as □a□□□'□ □arlie□ m□□terp□□ces, it is□nonet□□les□□a sign□fican□ wo□k, hav□□g the□power □o both shock□and move its audien□e,□□h□□st having□gre□t en□ertainmen□ □alue.□It evok□s th□ mood of its ti□e□in a □ay tha□□few Fre□ch f□lms o□ this period did, de□icti□□ □oung peop□e □s p□easure-s□eki□g rebe□s,□reje□ting the austerity and discip□ine of the□p□evious generati□n whilst purs□ing a lif□ withou□□cares□ respons□□ilities or love□ Similarit□es with□□□me□ Dean's□fil□s□of the□□9□0s (mo□□ notably□Rebel without a Cause) ar□ □□□aren□, □lt□oug□ Carné's t□eatment o□ young p□ople□is□fa□ more □bs□r□ct - in his film the□ merely s□mbol□se□a w□rld that has lost□□ts wa□, mor□ or less□victi□s of□post-war pro□perit□.□Altho□□h the you□g□peo□le in Les Trich□u□s lack□the authenticity to be totall□ credi□□e, t□e film□does make an imp□r□an□, a□d□ind□ed quite distu□□in□ poin□, ab□□t w□ere th□ permissive so□iety□□ay□be he□di□g. M□ch of□□he pleasure□o□ □he film i□ in the per□□r□an□e□ f□o□ its four lead act□rs, Jacques Charrie□, Pascale P□tit, L□urent Terzieff and□□□dréa P□□is□, althoug□ only Terzi□ff i□ □eall□ convinci□g□in h□s role. □arc□l Carn□ o□i□inally consider□d□Alain Delon and J□an-Paul Belm□ndo □or the parts of□Bob □nd□Alain□respectively□ b□□o□e op□ing for Charrie□ a□□ Te□zieff. A□ a cons□□ation, □ar□é offered Be□m□ndo □ small□r□pa□t in the □□□□ - □las □oo sma□l for t□e actor to be no□iced by the pub□ic. Be□mo□d□'□s br□akthroug□ h□d to wait until the followi□g year w□en he st□r□e□ in J□an□□uc Godard&#□9;s re□olutio□□ry A bo□t de souff□e, a□film□which offer□ a very differe□t perspe□tive o□ the youth □eneration. 李云睿最后□择(🤸□了自杀□她□□(🔅)皇子等人密谋刺杀皇帝并谋□，但最终失败□，被□上了绝路。她不想等待庆帝处置自□□所□选择□自杀。李云睿□庆余年□□□🧗)一个复杂而引□(🧣□注目□角色，她展现了疯(😘□狂和黑化□一面□对庆□□..
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