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This late 50s French study of disaffected youth (in their early 20's, actually--"grown up", 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 (don't virtually ALL youth films made by adults do this? The ones that don't--River's Edge comes to mind-- are rare indeed), but director-writer Marcel Carne, of Les Enfants du Paradis fame, is too accurate an observer of humanity to NOT provide an insightful view of the essence of these characters. In a sense, 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, but leads Jacques Charrier, Laurent Terzieff, Pascale Petit, and Andrea Parisy play the roles with subtlety and depth. There is also a fine jazz score, which you can get on the CD JAZZ IN PARIS--JAZZ & CINEMA VOL. 2. Unlike some who have commented on the film, I don't 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, 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 I think Carne is certainly aware of this. For this American viewer (I watched a dubbed, fairly literally I'd say, version of this titled THE CHEATERS), the film provides an interesting window into the France of the 1950s. It also is self-consciously poetic (the scene on the ledge, saving the cat, 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, melodramatic, shallow way this kind of material would have been handled by an American studio production, and the sensationalistic, moralistic, suggestive way this kind of material would have been handled by American drive-in/exploitation filmmakers. I feel that Marcel Carne has captured the essence of that period between, say, high school graduation and when, by one's early 30s, people have largely settled into a routine, 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 don't want to do that, you can go in the other room while the film is playing and simply enjoy the fine soundtrack, with great 50s jazz and instrumental pop, including the wonderful original score by an American "Jazz at the Philharmonic" group including Coleman Hawkins, Dizzy Gillespie, Stan Getz (spelled "goetz" in the credits), Roy Eldridge, and Ray Brown.

many people think that the first period of marcel carné is the best,marcel carné is certainly the best french director from all time,the cheaters was realy dynamite at the time ,at the same time wasthe beginning of the so called "nouvelle vague" all the actors were wondurfull certainly laurent terzieff ,but also jacques charrier,pascale petit were great

Andrea Parisy, Jacques Charrier, Pascale Petit and certainly Laurent Terzieff could have been part of the Nouvelle Vague that was washing over France, and splashing over other countries at the time. They certainly had the acting ability to be part of it. The problem as I personally see it is that the supposed 'new' cinema (with all the arrogance of the new) did not recognise the full spectrum of cinema, or that Marcel Carne's films were distinctly great films and part of that spectrum. The Nouvelle Vague films made themselves special by taking the camera out on the streets (which also happens in 'Les Tricheurs') instead of being studio bound, and prejudice against the supposed 'ancien regime' was rife. 'Les Tricheurs' (forget the English title 'Youthful Sinners' which is nonsense. The title for the UK and elsewhere should have been 'The Cheaters') is a very good film indeed, and both the acting and the direction perfect. It is nonsense also to call it an existentialist scenario. It is quite simply the relationship between four central characters, and how love is destroyed because all of the four cannot take on the responsibility of loving. A lot of the action takes place at parties and a deadly verbal game sets the tragic climax into motion. No spoilers. Charrier is excellent as the less open of the four to open relationships, and Terzieff equally excellent as a young man who has his own mysterious agenda to destroy emotions. Pascale Petit is very good as the young woman who is troubled and confused, and so is Parisy as the jaded woman who holds parties and seduces as many men as possible. This film arguably was part of the Nouvelle Vague (see Chabrol's 'Les Cousins' for a prime example) and 'Les Tricheurs' should be better known and valued as an excellent film. Only seven reviews here shows to me that it should be restored and not undervalued.

First, I rated this movie 10/10. To me, it's simply one of the best I saw since I was born (I'm 23, but I saw numerous films). The story is cruel, but reality is, too, not ? It went deep into me and stirred my bowels. I saw it about 5 or 6 years ago and it still shakes me - and I still remember it !

Second, there is no 'national preference' (this expression is a direct translation from the French) for this movie. I mean it's not because it is a French movie that I put it so high : it has really caught me when I saw it. Furthermore, I don't know well Marcel Carne's filmography, so I don't know if it is or not his best movie, but I know it is not his most famous : Hotel du Nord, Quai des Brumes and Les Enfants du Paradis are the most famous.

Third, the movie's in B&W, but it deals with inter-temporal problems of youth (not acne) like love, friends and studies in a modern way. It could even be remade frame-by-frame with actual young actors, a Dolby(tm) sound and special effects (a car crash), it would still be a great film !

Problem : Maybe is it a film to be seen by young adults (from 16 to 25 years old) - and above, of course - for its message to be well understood... Did I say it was a great movie ?

François Truffaut, Young Jerk of the "Cahiers du cinema", main bastion of the coming so-called New Wave, made a big show of hating this film and even accused it of dragging French cinema into mediocrity. Translation: Truffaut, who was terminally repressed sexually, was already jealous of the way Carné could make a huge success of a story that pushed all the right buttons of its audience and actually involved it into something important with all the trappings and seduction of sensuality. In other words, where the general public and many critics saw a perceptive sociological analysis wrapped in a beautiful film, Truffaut saw "Girls on the Loose".

Carné, after all, had everything that would be severely lacking from the New Wave: intelligence, refinement, humour, a great talent as a storyteller, a great ear for dialogue, dazzling technical brilliance, the capacity to make his actors do what he wanted them to do, and a good dose of good taste. By comparison, Truffaut is a provincial bore with nothing to say.

A 50's tragic remake of "Pride and Prejudice", the French answer to "Rebel Without A Cause", an updated version of "Children of Paradise", "Les Tricheurs" tells a story of disaffected Parisian youth who have lost their way in an atmosphere of existentialism, sexual liberation and disrespect for traditional and religious values. Some (young) critics perceived Carné's take on the subject as the moralizing slant of an "older person", whereas I think what happened, quite to the contrary, is that Carné being gay and knowing a thing or two about repression, felt an untold sympathy for the young iconoclasts in his story. Furthermore, this being a French film, there is no mistaking that the rebellion in question is essentially sexual, something that still had to be decoded in American films like "Rebel Without a Cause" and "The Wild One".

Carné's young people are all supremely beautiful, graceful, elegant, spontaneous and intelligent. They are Gods and Goddesses. They drive the latest Vespas and the right cars. The cut of their suits, dresses and duffle-coats was a high point of the fashions of the last century. Their haircuts are still plastered on the wall of your local hairdresser. Their body shape, which they attained and maintained without effort, is still the modern Western ideal. They listen to the best jazz musicians. They know how to move, how to be sexy and how to make love – even though the pill hasn't yet been invented. They know how to negotiate different social classes and cultures. Unfortunately, they are defined by and live by the code of the gang and their own heartless rituals that exclude sentimentality and make a sin of romantic love. The only thing wrong with them is that their elders don't talk to them and vice-versa. The incidents depicted in this film got a lot of tongues wagging for a long time in France about the amorality and nihilism of youth while still making it a huge public and critical success.

This film is so stylish and gorgeous, I suspect the older viewers who watched it wished they could be like the people depicted in the film and quite a few young filmmakers or aspiring filmmakers like Truffaut developed a bad case of jaundice reflecting how they could never conceivably make a film as sexy or popular as this one, although they would be very good at eventually aiming for the nihilistic bits. On the other hand, given a certain clichéd aspect of the script (amorous misunderstanding leading to a medical emergency), one can only wonder at the horribly pious and puritanical mishmash Americans would have extracted from the same basic script if they had dared to tackle the subject.

Interestingly, the movie was filmed in the same basic locations as the American musical "Funny Face" a year earlier. Where Hollywood saw the picturesque aspects of the Rive Gauche and existentialism, Carné restituted its tragic and ironic dimension. Watch this trailer on YouTube: 19ZkKeoNjPo