魔戒影評英
① 哪位幫我寫個或者找個指環王的影評（要英文的）
這個才是你要的
The reason why this first part of Jackson's 'Lord of the Rings' is superior to his latter two parts is because of restraint. Jackson was restrained from over doing it with the CGI and "epic" battle sequences, which in my opinion does not make a story epic. Part of the reason was simply because Tolkien did not have very many battles in the first part of his book, which thankfully forced Jackson to focus on creating a believable world rather than a believable hack-n-slash action movie.
I don't find much entertainment in watching people mutilate each other, but I love it when a movie engages me in a world, and 'The Fellowship of the Ring' does just that. Certainly the most breathtaking scenes in the movie are the moments of patient observation, when the camera pans around and captures the beautiful settings of Middle Earth. I must give Jackson credit. He did hire some very extraordinary artists that have envisioned one of the grandest interpretations of Tolkien's world.
There are about five particular moments that stick out in my mind and gave me that tingle of goosebumps down my spine when I saw them for the first time. The first is the introction to Hobbiton. After the somewhat awkward prologue, I was beginning to have my doubts to whether the movie would live up to the book. But the movie surprised me. Hobbiton is perfect. The houses have flower patches and old fences, the roads look worn and made through decades of travel, and the Old Mill spins with the laziness of a quiet town. Every color is vibrant and every moment looks as through it was taken out of a picture book. Although I still don't agree with the particular look of the Hobbits, I believe everything else in Hobbiton is worthy of Tolkien's words.
The second moment comes after Frodo's awakening in Rivendell, and the third, ring the exploration of the Halls of Moria. In both moments, the camera pans away from the characters and outward into a static shot of their surroundings. The moments make us feel like we're turning our heads and gazing at the world around us just as the characters do. The golden waterfalls of the elven city mark an interesting contrast with the dark halls of the dwarfish mines, but each are inspiring in their own ways and add to feeling of being engaged in a living world.
My other favorite moments come ring the exploration of Lothlorien and the passage down the Anin. And while I won't go into detail about the scenes, since they really should be experienced without any prior expectations, they are monuments in imaginative cinema. 'The Fellowship of the Ring' is one of those rare movies that I always wish I could reexperience for the first time. Unfortunately, Jackson turned away from exploring Middle Earth in his next two movies, and instead, turned to fighting and warfare. He seems to take a lot of pride in the love story and battle sequences he created in 'The Two Towers' and 'The Return of the King,' but it is was in his first movie when he really got it right. In 'The Fellowship of the Ring,' it's okay if the characters are uninteresting and have silly dialogue. Middle Earth is the star, and the characters are the ones seeing it for the first time.
We have been waiting an entire year for this one!!! The Two Towers picks up right where last years Lord of the Rings: The Fellowship of the Ring leaves off. The director, Peter Jackson, did not include a recap of the last movie, so if you don't remember what happened in the first movie you better rent it and refresh your memory before you head off to the theater.
When we last left our fellowship, it had splintered apart. Frodo Baggins (Elijah Wood) and Sam Gamgee (Sean Astin) continue there quest to return the all powerful and evil ring to Mordor where it can be destroyed. They take on the creature Gollum (Andy Serkis) as their guide to Mordor despite Gollum's obsession with getting `his precious' back. Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies) begin by trying to find the kidnapped Merry (Dominic Monaghan) and Pippin (Billy Boyd), but end up getting caught up in a battle to save a race of humans. The evil wizard Saruman (Christopher Lee), controlled by Dark Lord Sauron created a grand Uruk-hai army that is sent to destroy the race of Humans at the fortress Isengard. The presumed dead Gandolf (Ian McKellen) also returns to lend his assistance in battling Lord Sauron's troops.
This film was better paced than the first in the trilogy. There were still some breaks in the action that were a little ll, but the dialog was necessary to further the story. With three separate stories going on simultaneously between the three groups of the splintered fellowship, the film kept the action moving quickly. Clocking in at 179 minutes, it is just one minute longer than the first film. This time, I didn't mind the length. The battle for Isengard comprised about a third of the film, and it was very intense.
The rest of the film had a lot of the same excellent cinematic shots as the first movie. The shots tracking the actors from above (done by helicopter) with the beautiful New Zealand mountains and countryside in the background were just amazing. The landscapes helped to keep me involved with the story when the action slowed for dialog intensive scenes.
The creature Gollum played a very key roll in this movie, and the computer-generated character was very lifelike and amusing. He reminded me of Dobby the `house elf' in Harry Potter and the Chamber of Secrets. Gollum and the Dwarf were the two main comic relief characters in this very serious film.
To conclude, we had to wait a year for this film, and it lived up to expectations! A final reminder…this is the middle film in the trilogy so you can expect another ending that leaves you wanting more! Not to worry though, the third and final film is e out next Christmas.
This is the final movie in the Lord of the Rings trilogy, and certainly doesn't disappoint like some other trilogies *coughMatrixcough*. The three films had their principal shooting all done at the same time, which lowers their overall costs and keeps a good sense of continuity for the films.
The special effects, first of all, are excellent. While there's a few little things (a reversed shot with smoke flowing back into chimneys and occasional lighting that's a bit off), by and large they're excellent. The most impressive thing about them is the sheer scale. This isn't a small or simple scene; it often includes thousands of digital characters combined with filmed actors and action, sweeping landscapes, and dozens of things happening at once. This is a good reason to see it in theatres; even on DVD, there's little details that you can only catch when it's on a massive screen.
The filming is good, although there are a few evidences of digital smoothing and cutting that can nag at the mind and eyes of a picky movie-goer. There are a few interesting shots, but most are fairly plain and straight on, getting the point across without being dazzling. New Zealand's landscapes provide a great backdrop for everything going on, and there really are some beautiful places, especially up in the mountains. I hear land prices are quite good, what with the orcs warring and everything, so you may want to look into real estate purchases now.
Sound has been said to make 75% of the emotional impact of any proction. This is a loud 75%. All the sound effects are very well pulled off, sound appropriate, and are generally loud. The Nazgul screeching was bordering on painful, but in a good way. Most everything has a distinct sound, and it's rare that anything feels out of place. In some of the battles, the roof of the theatre was shaking. The soundtrack fits the movie well, and Howard Shore has done an excellent job, as with the last two films in the series.
Performances all around were good, but Sean Astin as Sam and Viggo Mortensen as Aragorn really dominated the film. They performed their roles perfectly, and came away giving a good picture of the characters. Elijah Wood seemed to be stuck with the same terrified expression on his face through most of the movie, almost Max Payne-style, and it grew old quickly. Ian McKellen, the ever-wise white wizard, had a fair bit of dialogue which he delivered well; my only complaint is he had too much in the way of wistful sayings leading to scene changes. Orlando Bloom, favorite of young teenage girls everywhere, had a few more action sequences (which got cheers from the aforementioned girls) which were quite well pulled off, but his acting wasn't much tested by this film. John Rhys-Davies continued with Gimli's joking performance; he's really too amusing to take seriously, but does a good job at it.
For the old Tolkien fans, this movie stays quite close to the book, although they did have to omit some portions, most notably the taking and retaking of the Shire and the time spent in the Halls of Healing in Minas Tirith. Hopefully some of this will show up in the Extended Edition on DVD. Shelob's attack was left until this film, and much of the time spent in Mordor was shortened for the sake of pacing, and it was a good decision.
My favorite scene would have to be the battle at Minas Tirith. The incredible scope of the battle, with the special effects, sounds, and many close-ups of pieces of the action, make for an exciting scene. The visual effects especially are stunning; the 'oliphaunts' play a big part in the action, and they're entirely created by computer. There's also some wide shots with tens of thousands of digital characters marching on the field of battle, and even the indivial actions have the masses warring as a backdrop. It's worth your movie-going dollar simply to watch this on a large screen. It was also intermingled with some smaller events inside Minas Tirith, so it's not pure battle for the whole of the scene, and it keeps it from being dreary or heavy-handed.
Overall, this is a movie well worth watching, and even paying to see in a theatre. I'd recommend against bringing small children, as there are some scary images, and they'd also be a distraction ring the final movie in what will probably remain the series of the decade. Not a particularly great date movie, either...this is a real, bring-your-friends big movie. Five out of five decapitated orcs (and trust me, there were a lot more than that).
② 這是篇魔戒的影評，有道詞典翻譯不靠譜，麻煩幫我翻譯成英文，謝謝。
這么大一篇，你給內15分。容 The most let me pity in this movie is Guru. As a kind Hobbits, Guru killed his friend in the temptation of the ring. To avoid killing of the ring spirit, he hided in the dark and wet cave and became the slave of the ring. he Having an ungly face, he lost the ring by carelessness. Then he began his long way to look for the ring. In the force of Frodo, he began his way to Moro. On the way, Frodo helped Guru to change by trust. Guru is the representive of all races.
③ 《指環王1》觀後感 中英文學
指環王1：魔戒再現的劇情簡介 · · · · · ·
比爾博•巴金斯是100多歲的哈比人，住在故鄉夏爾，生性喜歡冒險，在年輕時的一次探險經歷中，他從怪物咕嚕手中得到了至尊魔戒，這枚戒指是黑暗魔君索倫打造的至尊魔戒，擁有奴役世界的邪惡力量，能夠統領其他幾枚力量之戒，在3000年前的人類聯盟和半獸人大軍的戰役中，聯盟取得了勝利，並得到了至尊魔戒，數千年的輾轉後，魔戒落到咕嚕手中，被比爾博碰巧得到。
因為和魔戒的朝夕相處，比爾博的心性也受到了影響，在他111歲的生日宴會上，他決定把一切都留給侄子佛羅多(伊萊賈•伍德 飾)，繼續冒險。
比爾博的好朋友灰袍巫師甘道夫（伊恩•麥凱倫 飾）知道至尊魔戒的秘密，同時，黑暗魔君索倫已經知道他的魔戒落在哈比族的手中。索倫正在重新建造要塞巴拉多，集結無數的半獸人，准備以大軍 奪取魔戒，並且征服全世界。
甘道夫說服佛羅多將魔戒護送到精靈王國瑞文希爾，佛羅多在好朋友山姆、皮平和梅利的陪同下，在躍馬旅店得到了剛鐸王子阿拉貢的幫助，歷經艱難，終於到達了精靈王國。
然而，精靈族並不願意保管這個邪惡的至尊魔戒，中土各國代表開會討論，達成意見，准備將至尊魔戒送到末日山脈的烈焰中徹底銷毀，佛羅多挺身而出接受了這個任務，這次，陪伴他的除了三個好朋友，還有甘道夫、阿拉貢、精靈萊戈拉斯（奧蘭多•布魯姆 飾）、人類博羅米爾、侏儒金利。
一路上，魔戒遠征軍除了要逃避索倫爪牙黑騎士和半獸人的追殺之外，更要抵抗至尊魔界本身的邪惡誘惑，前途困難重重。
指環王1：魔戒再現 The Lord of the Rings: The Fellowship of the Ring 獲獎情況
第74屆奧斯卡金像獎 (2002)
最佳影片(提名) Barrie M. Osborne / 彼得·傑克遜 / 弗蘭·威爾士
最佳導演(提名) 彼得·傑克遜
最佳男配角(提名) 伊恩·麥克萊恩
最佳改編劇本(提名) 菲利帕·鮑恩斯 / 彼得·傑克遜 / 弗蘭·威爾士
最佳剪輯(提名) John Gilbert
最佳攝影 Andrew Lesnie
最佳視覺效果 Jim Rygiel / Randall William Cook / 理查德·泰勒 / Mark Stetson
最佳音響(提名) Gethin Creagh / 哈蒙德·匹克 / 克里斯托弗·博伊斯 / 邁克爾·斯曼內科
最佳美術指導(提名) 格蘭特·梅傑 / 丹·漢納
最佳服裝設計(提名) Ngila Dickson / 理查德·泰勒
最佳化妝 Peter Owen / 理查德·泰勒
最佳原創配樂 霍華德·肖
最佳原創歌曲(提名) 恩雅 / Nicky Ryan / Roma Ryan
第26屆日本電影學院獎 (2003)
最佳外語片(提名)
④ 魔戒的影評
電影別出心裁的用了咕嚕從前的經歷承上啟下，作為《雙塔奇兵》過渡到《王者無敵》的引子。像是咕嚕回歸現實的夢之通道。即而，新的故事開始。自然委婉，不露一絲人工刻意的痕跡。
關於咕嚕不甚掉入河底恰拾魔戒，心生邪惡掐死哥哥的這段插敘。很多人認為是用來表現魔戒惟我獨尊的強大惡勢，以此暗示弗羅多一路上重重的精神磨難。其實從另一種角度觀望，魔戒不過是面魔鏡，它不是讓人變壞而是將你內心險惡反射進而無限擴大在你的瞳孔。我哥說，不見得咕嚕幾百年前每天釣釣魚你就看得出他曾是個單純善良的霍比特人吧。這個小怪物後來之所以變得人不人鬼不鬼，多半是由於長久來永無休止的內心掙扎。一個人最恐懼的事莫過於自己封鎖暗處的隱私抖落眼前。一個生命最艱難的事莫過於和自己靈魂上的負面持續斗爭。
弗羅多也並非聖賢。他雖然心地善良卻到底不過凡夫一介。日常生活中他不可能完美的毫無瑕缺。魔戒自靠近弗羅多那一天起，不僅使他踏上了千辛萬苦的征途，更意味著他與自己潛藏的靈魂負面進行一場持久較量的開始。最終弗羅多也沒能將魔戒扔下熔岩。而我分明讀見他藍寶石般的雙眸中，那交錯著不忍卻無奈的絕望。他終是無法戰勝外力所致的另一個自身。
《西遊記》中，孫悟空那樣一個曾經大鬧東海地府天宮的朋克，一樣在西行時屈服於唐僧和如來的管轄。最後連自己都難免變為統治階級。西行81難如激光般炸平了石頭尖銳的稜角。同時亦成了孫悟空打敗自己的過程。
且不論托爺爺本意如何，對於我們這些沒看過原著的人來說，一千名觀眾心中自有一千個哈姆雷特。如用某種深入的尺度來衡量，無疑上述論說更能體現價值感與可觀性。
壯麗的戰爭曼陀羅
剛多國古堡留給印象的清晰輪廓，是宛如白銀玉石般層層圍裹在懸崖峭壁上的雄偉城池。當甘道夫騎駕白馬盤繞飛馳，奔越民眾和集市，直達頂端居高臨下的國王寢殿。我已不難想見，佩蘭諾一戰的爆發將會導致怎樣一種覆滅性的殘酷美感。
佩蘭諾戰役因為有擊鼓巨獸，戒靈飛龍，戰象甚至一片好似《加勒比海盜》里搬來的亡靈軍團進行海陸空三重參戰，其場面自然要比第二部中的聖盔谷戰更顯壯觀。飛龍時而展翅高翔時而俯沖低鳴的視角變換著賞識史詩氣魄的立體切面。亡靈援軍如潮如浪地蜂湧蔓延現身不為人知的冥界力量。烽火跨越山脈起伏，峰嶺延綿，千年冰雪托起它在雲霄之上的升騰，最終落到羅翰國繚望的邊境頂點。如同一道天啟星光，接連燃燒著人類共有的希望。
如此氣勢在恢宏程度上絕對勝於《雙塔奇兵》。但是缺乏上部那種讓五臟六腑為之顫抖的強烈震撼。《雙》因為有美麗出塵的精靈神箭手們參戰，魔軍的丑惡在反襯下更加無限放大。視覺反應便是超越光速觀望遠古神話的上演。加上陰暗流派的背景音樂，給戰場慘烈的畫面增添一抹淡淡蒼涼的顏色。晝之明終歸不如夜之暗來的深重。所以佩蘭諾光天白日下的戰爭，始終不及聖盔谷那種深不可測的無盡黑夜更具壓抑感和緊迫感。
領略過魔戒的特技製作，什麼哈里波特，什麼星戰終結者蜘蛛俠，真的都可以見鬼去了。我不敢這么說黑客，因為黑客蘊涵著太多晦澀難懂的哲學。但是黑客系列的戰爭場面顯然不如魔戒系列扣人心弦。前者帶來的更多是新鮮，刺激和喧嘩。恍如小時候看變形金剛打來打去那般精彩而空洞的心情。隱存在機械中的人性只剩下些許冰冷的殘余。然而中土平原卻是充滿人性情感的戰地。人類無力到達善與邪的彼岸。但遙相守望的各族生靈終會重見惡勢在勇氣中竭盡的寬慰和釋然。
觀影時我無從所知。為何沒有煽情的情節，不見悲劇的收場，亦無現代都市劇的孤獨空虛感，沒有原因沒有理由卻足以使我熱淚盈眶。直到告別朋友們，獨自回家的路上陷入冥思，才慢慢理解原來那是被高科技的社會濁蝕的本性。血液里喪失多年的溫熱再度沸騰，激撼著靈魂底處就快逝去的某些東西恢復了電流感應。
奇幻故事中的人性世界
西方神話無論人神，都是以人性結構為主的。古希臘神祗宙斯與眾女神的感情糾葛這樣體現，北歐異教的奧丁神與其眾兒女亦是如此。因此魔戒故事裡便有了精靈公主阿爾溫和人類勇士阿拉崗之間的曠世戀情。而東方文化素來將人和神的性情以不同境界劃分等級。天蓬元帥何以被貶下凡成了豬八戒，為得就是這個清規戒律。所以氣質脫俗的精靈可以主動熱吻阿拉崗，卻始終不必像嫦娥那般寒氣凌人。
但是這位神仙公主除了擁有不食人間煙火的容顏，除了透明純藍的眼珠和飄逸的行走姿態，幾乎讓人想不起她的存在理由。雖然pj導演認為叫阿爾溫上戰場純屬蛇足，但是僅憑聲色影像的直觀，確實令我無從感受她那所謂的精神意念。滿眼盡是她目光呆滯，黯然失色的模樣。怎麼看怎麼都像是等人家把仗打完了，她趁機跑去嫁給阿拉崗坐享其成。
倒是羅翰國公主伊奧溫，個人感覺影片中血肉豐濃的人物之最非她莫屬。自她身穿白色長裙佇立城頭那一刻起，我已能想見這個女孩心中的廣闊天空。她懂得如何爭取自己的幸福。而面對情感的失落，她更加清楚什麼才是最重要的理想追隨。沒有棲息的愛是比死亡還要冷酷的冰川。伊奧溫執意上了戰場。金發起舞如風中白帆，深綠眼瞳目光炯炯。與身邊那群英勇男兒毫無差異。她和他們一樣放聲吶喊，預見自己終有可能倒在滾燙的血泊中央。但無論是生是死，得到的自由早已覆蓋住那一點點微弱的傷。
伊奧溫不是童話里的公主。她不是只會坐在華美幽黯的後宮持續無用的想念。亦不會讓萬段柔腸在荒野林間譜寫流亡曲。她才是真正手持神劍，飛身駕馬的絕世精靈，於戰火硝煙的百里沙場上縱橫馳騁。
電影一直用相交的兩根線索編繪故事。我不理解為何很多影迷覺得弗羅多惹人厭惡。在我看來，他是人性善面的極致代表。「善良」 一詞不僅僅是心腸柔軟的意思。它同樣包含一個人對理想的詮釋和對責任的實行。這個身材矮小的霍比特人所承載的，或許是連天神都無法企及的靈魂。所以薩姆對弗羅多那種拚死護送的忠誠，絕對不能和同性傾向混為一談。因為一個真正純潔正義的生命，他身上自會散放出令任何人感到震攝的光芒。
聽說原著語言優美非凡。不過電影台詞大多採用了簡明的方式。可就是這些簡潔的對白，卻有一股直搗人心的份量。比如開頭不久薩姆把所有食物留給弗羅多時說的那句：i am not hungery。短促的言語暗中凸顯薩姆作出自我犧牲時所下的決心。而當弗羅多體力不支在石壁上倒下的時候，精靈女皇向他伸出帶著光和熱的手掌。this task is appointed to you. if you don』t find a way, no one will。這句話並非冥冥中精靈女皇帶給他的力量。而是自己必須完成的這個使命，扎在內心根深蒂固的重量。
伊奧溫戰勝戒靈巫師後，伏在父親身旁哀哀哭訴：i am going to save you。國王平靜說道：you always did。即爾安詳地永恆沉睡。這個「did」 已是不會再有下一次機會發生的過去時。國王記憶中最後一幕長新的情景，是公主那令人即使面對死亡都會感到安慰的勇敢堅強。然而生死無情絕不為此遲疑。它依然在瞬間築就永遠不可逾越的圍牆。
印象較深的還有決戰前精靈哥哥對矮人說得話：what about if we die side by side with friends？記得他們以前總喜歡比試戰績。精靈哥哥輕功征戰象時矮人還斤斤計較了一句：that couldn』t be counted as one。有趣的小心眼使人發笑。既然一切都將可能終結，假如死亡能讓友誼和希冀永恆，那麼生存的盡頭又有什麼值得恐懼呢？
我本是個感性的人。就連《海底總動員》這種動畫片也能讓我鼻腔酸楚。觀看魔戒更是不止一次地濕卻雙眼。這種經由人性相通的連接點引發的共鳴，是否就是遺忘在成人世界裡，淚水的恆溫？
瑰絕的音樂詩篇
大概本身迷戀另類的關系，總覺像魔戒這樣的電影，應該由深受古文明熏陶的歐洲音樂人但當配樂製作。事實上魔戒系列的原聲音樂拋不開和歌特及新古典流派一脈相承的關聯。起初精靈族行走林間那個場景，如詩如畫，彷彿一出夢境顯形在時空隧道的彼端。多麼像歌特金屬和darkwave一貫表達的典型意境。
由於影片需要，背景音樂的主調是澎湃激昂的。而有些場面加入些許蒼涼的調子，便是喧鬧背後令人動容的寂靜。好比法拉墨出征時梅利的那段清唱，以及高潮處如歌劇般的男女高音合唱，都蘊含幾分歌金的神秘色彩和darkwave的幽暗氛圍。音樂是比畫面和文字更具感染力的藝術形式。有時戰爭場面的氣魄，或許只需一篇冰涼而慘淡的曲章，就能表現淋漓。記憶中那些沉鬱悠揚的旋律，聽起來彷彿遠遠傳至的天籟。優美，似有，似無。到達耳膜深處卻有一段遙遙無期的路途。
很難想像一部壯闊而漫長的史詩，如何能每個情景和細節都製作的如此精緻，完美無瑕。這種感慨猶如前陣我反復聆聽的速度金屬。那種追求旋律速度的東西，竟也能做到重型和古典的並存。聽說魔戒原本有意請奧地利樂隊elend製作配樂。且不論真假，黑暗樂系的氛圍與神話故事的主旨總是最貼切的。
有人說，魔戒系列實為現代科技和人力結合的智慧結晶，卻是電影界的悲哀。可為什麼一定要把它嵌進傳統電影史的固有模式中去呢？它為我們帶來絕美的視聽享受，令我們重拾迷失在都市樓群中的人性情感。比起史詩的悲壯浩瀚，人類藝術觀也只不過是相對渺小的產物。如果沒有電腦特效的輔助，所有這些輝煌又如何燦爛在我們的瞳孔？
寫到這里，室外已是暮色漸暗之時。華燈初上，紛繁夜景，恍若隔世。能夠觸覺到任何一種豐富的感動，生活都是個美好的存在。
作 者：紫夜精靈
真正的勇士
總會在朋友危險時第一個拔刀相助
總是會對待兄弟和朋友心口不一
卻在暗處關心他們
帶給你光明的友情 帶給你愛情的純真 帶給你奇跡的知識
帶給你溫柔的誠實 帶給你希望的勇氣 ＝轉
⑤ 求指環王三部曲影評
《指環王》之人物 在小說《指環王》中，托爾金為我們所架構的，可能是最為復雜的一顆人物關系樹。在電影中，由於篇幅的限制，仍然有許多角色與我們失之交臂。但是，因為電影本身史詩性的敘述方式、嚴肅的對話和心理描寫、以及對演員的准確選擇，使得電影中的角色令人印象深刻。 《指環王》是一部男人戲。首先，故事以一個保護戒指的小隊為出發點。隊員包括弗羅多在內的四個霍比人，波羅莫，阿拉貢，巫師甘道夫，矮人金靂以及精靈萊格拉斯。弗羅多和他的園丁山姆的互相扶持、皮聘和梅里的插科打諢、阿拉貢的勇敢與頑強、波羅莫的懺悔與犧牲、甘道夫的睿智與領袖氣質、以及精靈萊格拉斯和矮人金靂的相互拌嘴、甚至是妖怪咕嚕的雙重性格，這些，都令我們為之著迷。 對於沒有看過《指環王》小說的人們而言，可能電影的第一集讓人最為難忘。因為這一集是對原著的精神傳達得最為成功的。我們在電影的第一集里看到了一個fellowship的誕生和分裂。所謂fellowship是英文中用來形容有共同的目的而結成的同盟或者夥伴關系。而故事中保護戒指的同盟里，最重要的成員之一就是阿拉貢。 阿拉貢是埃西鐸的直系後裔，鋼鐸王位的繼承人，卻放棄了王位自我放逐，因此又被稱為「神行客」或者「游俠」。他所代表的一個失根的民族，因為努曼諾爾人已經被神所遺棄。他們的來源早已佚失，就像亞特蘭提斯一樣沉入了深不見底的大海。而阿拉貢擁有這個古代文明的一切特質。他很清楚權力、濫用權力和張狂叛逆所引發的問題。因為他是埃西鐸的後代，所以他也有被戒指腐化沉淪的可能。阿拉貢時常流露出他的脆弱，不時感到對自我價值的懷疑，受到不能完成任務的折磨。 但是，阿拉貢從不隱瞞自己的脆弱，並且還能在不停的戰斗中逐漸克服並且戰勝自己的脆弱，如同亞紋所言，他是一個真正的英雄，他的時代必將到來。 在整個保護戒指的同盟中，與阿拉貢最為息息相關的人物就是波羅莫。波羅莫是米納斯提利斯攝政王的長子、阿拉貢的血親，不過，他一直不承認阿拉貢對鋼鐸王位的繼承權。更重要的是，他一直對弗羅多手持的魔戒擁有一種近乎偏執的狂熱。在托爾布蘭達山腳下，波羅莫在戒指的誘惑下幾乎失去自我，他襲擊了弗羅多，想要搶走戒指，但是卻在最關鍵的時刻覺醒，為了解救護戒小隊的另外兩名成員——霍比人梅里和皮聘，在雄渾的音樂中捨身戰斗，直至犧牲... 在原著中，對於波羅莫的戰死，並沒有做正面的描述。也就是說，作者在處理這個人物的死亡時，更多的是帶著一種罪有應得的贖罪心態來描寫的。然而到了影片中，波羅莫的死亡成了影片的高潮；除了因為這場打鬥戲是第一集中最驚心動魄的場面之外，導演更是借著這個人物的命運為第二集故事的繼續發展作了一個良好的鋪墊。波羅莫的死亡，在這樣的背景之下，也從贖罪的本意上升成了英雄的贊歌，當一個人戰斗至死，保住最後的榮譽之時，他所犯的罪孽就已經得到了救贖。 在影片指環王中，因為故事本身的復雜和場面的宏大，演員的發揮受到了很多限制。但即使如此，我們還是發現，有兩位重量級的演員，依然將自己的個人光芒發揮的淋漓盡致：扮演甘道夫的伊恩·麥凱倫和扮演薩魯曼的克里斯托佛·李，他們的對手戲可以說是電影的前兩集中最能吸引觀眾目光的。 灰袍巫師甘道夫原本因為戒指一事求助於白袍巫師薩魯曼，但不料薩魯曼已經投身黑暗，還希望勸降甘道夫。在電影故事的進展中，由於黑魔王的缺席，正邪之戰主要是發生在這兩人領導的隊伍之間的，也因此，甘道夫和薩魯曼基本上代表了正邪雙方的最高領袖。 雖然西方魔幻小說往往強調的是團隊作用，而不是個人英雄主義；但是在電影中，甘道夫的光芒確實蓋過了其他人，有他在的地方，別人都是次要的。甘道夫的本性仁慈、親切，喜歡惡作劇但是卻無比睿智，他對佛羅多和整個保護戒指的小隊都起到了精神領袖的作用；同時，為了平衡薩魯曼的邪惡力量，甘道夫雖然跌落凱撒督拇之橋，但卻沒有死；不僅如此，還因禍得福，升級成了白袍巫師，力量超過了薩魯曼。 與甘道夫對應的薩魯曼，不僅代表了自我毀滅的強大力量，也象徵了人類為了一己私利而對自然的破壞；在托爾金的心目中現代科技可以說是人類最為邪惡的發明之一，它強大，蠱惑人心，讓人上癮，欲罷不能；而薩魯曼對於自然無情的踐踏，也代表了人類在滿足自己慾望的過程中犯下的種種罪孽。薩魯曼精明邪惡 充滿慾望，並且巧舌如簧；他作為反派的強大力量，給我們看電影時增添了樂趣；畢竟，旗鼓相當的正邪之戰才能讓故事擁有更大的吸引力。原本，薩魯曼應該有更多餘地的發揮。畢竟，是他親手將甘道夫等人引入了魔瑞亞，一手炮製了炎魔的陷阱，可惜當甘道夫大難不死，升級成了白袍巫師之後，薩魯曼的力量就被他蓋過了。 在電影的第二集中，原本控制了洛汗國國王希尤頓的薩魯曼不僅被驅逐，到了影片末尾，薩魯曼精心炮製的軍隊被憤怒的樹須——一種會說話 會走路的巨型樹木毀於一旦。接著，到了上映版本的電影第三集中，薩魯曼的身影乾脆完全消失了。對於這一點的補償，來自電影的加長版本，在這一版本中，我們終於看到了薩魯曼的結局。關於這位邪惡巫師的下場，小說和電影採取了截然不同的兩種方式：在小說中，薩魯曼最終沒有死，而是被給予了最後一次機會；但在電影中，薩魯曼卻沒有得到這樣的機會。 薩魯曼曾經利用過洛汗國的叛徒葛力瑪，卻最後被這位小人物從身後偷襲而死，再一次印證了托爾金小人物創造歷史的觀點。鑒於薩魯曼的死亡，正義的一方缺乏了勢均力敵的對手，在《指環王》的第三集《王者歸來》中，我們所應該關注的，就只有至尊魔戒的最終命運了。 前面曾經說過，《指環王》是一場男人戲，整個故事中女性角色極端缺乏，再加以殘酷的打鬥和戰爭場面，讓這部電影充滿了熱血的味道。除了在第一集和第二集中對阿拉貢短暫的愛情描寫，讓我們記住了他的情人亞紋以及他們經過羅斯洛利安時覲見過的女王凱蘭崔爾；另外一位女性角色，或者說是最具有反抗意識的角色就是驃騎國國王希尤頓的侄女——伊歐文。不甘於既定命運的伊歐紋瞞著舅舅偷偷跑上了最終的戰場，並且勇敢地對抗索倫最邪惡的手下——安格馬的巫王。由於英語中的「人類」和「男人」都可以用同一個詞來表示，所以，當巫王咆哮出：「沒有人類能殺死我！」的時候，伊歐紋能夠在這個語言的巧合之下結束了他邪惡的存在。 《指環王》的故事裡有很多條線索同時發展，其中最重要的一條就是佛羅多和山姆這對主僕、以及他們和妖怪咕嚕之間的互動。我們已經知道：咕嚕原本也是霍比人，但因為貪戀魔戒而殺害了自己的好朋友，並且受到了戒指的詛咒，變得人不像人、鬼不像鬼，他的精神由於戒指的作用分裂成了兩個：一個還保持著膽小怕事的霍比特人史密戈，另外一個就是貪婪扭曲的咕嚕；在這兩者性格的交替作用下，咕嚕對故事的進展起到了很大的推動作用；咕嚕和佛羅多的命運因為戒指而緊緊相連。一開始，由於戒指被比爾博·巴金斯撿走，咕嚕為了尋找戒指開始了漫長的旅途，接著，是他在魔多的酷刑之下供出了巴金斯的名字，從而使得佛羅多不得不踏上逃亡的道路；當佛羅多對他饒而不殺時，咕嚕又將佛羅多奉為主人。但是對於戒指的貪婪和被欺騙的誤會，咕嚕將佛羅多引到了蜘蛛女妖居住的巢穴...經過九死一生，我們的主角佛羅多和山姆才最終到達末日火山的山口。 確實，在佛羅多逐漸被戒指吞噬了心智而不願意將戒指毀滅的時候，正是咕嚕在慾望的驅使下和佛羅多打鬥起來，最後和戒指一起跌落進火山的熔岩中。 《指環王》中最能激發人心的一點就是：我們有能力在最膽怯的時候，找到激發勇氣的力量；我們的眼睛在最黑暗的時候，依然有能力看到光明。 正是這一點，最終拯救了佛羅多和山姆。而之所以說佛羅多也是一個英雄，是因為勇氣無法在脫離恐懼的情況下單獨存在，勇氣與恐懼相生相剋。佛羅多很矮小，但是他所面臨的邪惡力量卻很強大，他從來都不知道自己的人物是否能夠完成，但是他從來沒有放棄努力；雖然佛羅多沒能戰勝戒指的引誘，但是他和山姆卻經歷了無數的艱難險阻到達了旅途的終點 史詩的完結，羅曼司的落幕 《指環王》中最能激發人心的一點就是：我們有能力在最膽怯的時候，找到激發勇氣的力量；我們的眼睛在最黑暗的時候，依然有能力看到光明。 正是這一點，最終拯救了佛羅多和山姆。而之所以說佛羅多也是一個英雄，是因為勇氣無法在脫離恐懼的情況下單獨存在，勇氣與恐懼相生相剋。佛羅多很矮小，但是他所面臨的邪惡力量卻很強大，他從來都不知道自己的人物是否能夠完成，但是他從來沒有放棄努力；雖然佛羅多沒能戰勝戒指的引誘，但是他和山姆卻經歷了無數的艱難險阻到達了旅途的終點。 《指環王》並不是一個希望解釋命運的故事，但是托爾金相信：只要有足夠的勇氣和信心，弱者也能推動歷史的車輪。小人物創造了歷史，因為他們別無選擇。與英勇戰斗的甘道夫、阿拉貢相比，佛羅多的勇氣並不輸給他們。 在剛鐸的大軍和魔多的邪惡交戰的時候，是一個妖怪和兩個身高不倒人類一半的霍比人最終燃起了勝利的火把！ 經過三年漫長的等待，電影《指環王》三部曲終於完結了。《指環王》是一部偉大的羅曼司，它的故事雖然已經結束，但是從某個角度上來說，充滿幻想的冒險才剛剛開始！彼得·傑克遜的電影將我們帶入了一個自成一體的世界，完美地詮釋了電影最令人著迷的特質，那種讓我們徹底忘記現實的逃避主義！ 在《指環王》的故事中有著古希臘神話、北歐神話、甚至是盎格魯薩克遜神話的影子，再貫穿以莎士比亞般優美的語言、瓦格納音樂的磅礴大氣、歐洲經典繪畫和建築的精華，格里菲斯、弗里茲·朗格、愛森斯坦，甚至是黑澤明式的電影風格，所以，對很多人而言，《指環王》是一部無法比擬的優秀作品，引人入勝，甚至能啟發靈感。彼得·傑克遜將托爾金的神話帶入了新世紀，《指環王》拯救了岌岌可危的所謂史詩電影！不過，關於電影《指環王》和原著相比，孰優孰劣，可能永遠也不會有定論。小說和電影的魅力體現在不同的方面，那些認為這兩種截然不同的藝術形式之間可以順利轉換的想法是不切實際的。無論承認與否，托爾金旨在為英格蘭創造神話的努力已經影響到了全世界。《指環王》使傳奇性的藝術得以復興，它製造了崇高和庄嚴。另外，這部電影會使一小部分觀眾被吸引到神話的世界裡。對於托爾金，神話是一個理想的窗口，比我們所擁有的更明亮或更黑暗，它是一個放大鏡，折射出一個平凡而絕望的現代靈魂心中最深切的渴望。 關於《指環王》所代表的意義，可以有各種各樣的理解。最後黑魔王索倫的力量崩潰，正像在瓦格納歌劇中，神放棄了自己的統治一樣，然而諸神的黃昏是一次不可預料的權利轉移。人皇之子阿拉貢登基；幾個霍比人回到了自己的故鄉，平靜地開始新生；精靈和矮人再一次退居到自己的世界，人人都獲得了幸福的未來。然後，故事並沒有隨之結束，在駛向另一個彼岸的旅途中，又一部偉大的羅曼司再次開始！
⑥ 指環王英語影評
I ABOUT THE AUTHOR
John Ronald Reuel Tolkien was born on January 3, 1892, in Bloemfontein, South Africa, where his father was a bank manager. After his father』s death, Ronald, then aged four, his mother, and younger brother moved to the English village of Sarehole, in the West Midlands. Thereafter, Tolkien always retained an idealized image of the Sarehole Mill, its old mill pool and overhanging willow tree, a tempting nearby mushroom patch, and the local clusters of cottages—all of which figured in his picture of Hobbiton. At this time young Ronald was already discovering two interests that were to shape his life: languages and stories about imaginary places. When his mother moved the family to Birmingham, the urban atmosphere with its trains and factories was much more forbidding and he later encouraged people to "escape" from such environments through imaginative literature.
During his years at King Edward's school in Birmingham and later at Oxford University, Tolkien concentrated on philology, moving from languages such as Latin, Greek, German, and French, to Old and Middle English, Gothic, Old Norse, Welsh, and Finnish. During his childhood Tolkien had started "making up" languages and as an undergraate at Oxford he continued this practice, evolving from Finnish and Welsh what eventually became the languages of the elves in Middle Earth. His work with the signal corps of the British army from 1916 to 1918 ring World War I stretched his linguistic talents in a different direction.
After the war Tolkien worked briefly on the Oxford English Dictionary, before moving into the profession in which he was to spend the rest of his life: teaching. He was first invited to join the English department at Leeds University; five years later he became a professor of Anglo-Saxon at Oxford, a position he held for 34 years. At Oxford he did much to demonstrate the strong bonds between what had been two rival fields: language and literature. Among his academic works medievalists have consistently praised his translation of the Middle English poetic romance Sir Gawain and the Green Knight and the posthumously published translations of The Pearl and Sir Orfeo. It is significant that the most prominent of his many studies in Anglo-Saxon literature should be his published lecture on "Beowulf: The Monsters and the Critics" (1936). As a child Tolkien had loved dragon stories and the anonymous Anglo-Saxon Beowulf-poet created one of the greatest dragons of literature, a model for Tolkien's treasure-loving dragons in The Hobbit and Farmer Giles of Ham, as well as his creation of malice and terror, Glaurung of The Silmarillion.
Throughout his life, Tolkien was drawn to the challenge of creating an imagined world and mythology. In the 1920s, while he was busy with his teaching career, he was also playfully creating "fairy-stories" to entertain his children. It was for them that The Hobbit evolved, episode by episode. When they grew out of listening to stories, Tolkien's motivation to create them stopped, and so did Bilbo's quest. It was not until 1937 that Tolkien completed the novel. The overwhelming popularity of The Hobbit led his publisher to request another book about hobbits. Tolkien began a sequel almost immediately, but The Fellowship of the Ring, the first part of The Lord of the Rings trilogy, did not see print until 1954, 17 years after he had written the first chapter.
The world of Middle Earth came to full form in The Lord of the Rings trilogy, but its underlying mythology continued to grow throughout Tolkien's life. After his retirement from Oxford in 1959 he concentrated on preparing for publication manuscripts that went back as far as his schoolboy song about Earendil (1914). Up until his death on September 2, 1973, he was still revising—and re-revising—the manuscripts, which were finally edited and published by his son Christopher in The Silmarillion (1977). Tolkien's own absorption in these myths is reflected by the inscriptions on his and his wife's gravestones: "Beren" and "Luthien", the names of the human-elven couple from whom the great lines of Middle Earth descend.
II OVERVIEW
In The Lord of the Rings Tolkien demonstrates the evolution of a literary world. In The Hobbit, often considered a prologue to the trilogy, he created a kind of being with no parallel in literature; in the trilogy he expands his single hobbit hero into four hobbit companions and an assortment of helpers and enemies. The character of Bilbo from The Hobbit returns in The Fellowship of the Ring, the first volume of the trilogy. The central adventure of the trilogy spans three volumes, each divided into two books. Each of the six books builds to its own climactic ending, but an intricate system of interlacing allows the reader to move easily with the characters as the author fills in more details about the geography of Middle Earth, the history of its inhabitants, and the progress of the quest.
The expansive background against which the central action takes place conveys a sense of the universality of the conflict between good and evil. In this world everyone needs the support of others in overcoming obstacles and in doing good. Many of the background sections treat the nature of evil as a distortion of what could have been good. Basic to the history of the One Ring is the thirst for power of its creator, Sauron. In the central volume of the trilogy, The Two Towers, the desire for the power inherent in the Ring has also corrupted the wizard Saruman. Tolkien's analysis of the corrupting nature of power explains why three of his strongest forces for good—Gandalf, Galadriel, and Aragorn—refuse to take the Ring and why Bilbo is unable to resist its control. As the story develops, one major source of Bilbo』s nephew Frodo's internal conflict lies in the pull of the ring itself. The success of Frodo's quest flows from mercy, friendship, enrance, and the courage to risk life and happiness for the good of others.
III SETTING
Physically Middle Earth resembles modern Earth. It is the inhabitants that add the touch of unreality that a reader expects in what Tolkien calls a "secondary" world. In making a world for his hobbits, elves, wizards, dwarves, ents, orcs, ringwraiths, and other unusual beings, Tolkien assumes the creative rights that he says in his essay "On Fairy-stories" belong to the storyteller: the right to be free with nature; to use the world as a basis to make something new, while giving this new world its principles of inner consistency. Much of the mythology and history of Middle Earth comes through songs that pervade the narrative, but a more organized "history", complete with dates for the four ages of Middle Earth and genealogies of major families of elves, dwarves, hobbits, and human beings, is included as an appendix to the third volume.
IV THEMES AND CHARACTERS
The enring conflict between good and evil is the underlying theme of the trilogy, but Tolkien develops other themes in connection with it. He explores the positive and negative sides of power, the nature of heroism, and the role of friendship. To Frodo Baggins, favourite nephew of the ring-finder Bilbo Baggins, is entrusted the task of saving Middle Earth from the control of the master of evil, Sauron. Frodo's task reverses the basic quest pattern: instead of finding a treasure, Frodo is sent to destroy what Sauron values above all—the One Ring. Sauron has poured much of his power into the One Ring to strengthen his control over the 19 Rings of Power. Of these 19 rings, only the Three made by the elves for themselves have never been touched by Sauron and his evil. The Seven, originally distributed to dwarf leaders, have been destroyed and do not affect events in the trilogy. The major concentration of evil confronted by Frodo comes from the Ringwraiths, or Nazgul, who are men enslaved by Sauron through the Nine Rings.
Sauron, having learned from Gollum the whereabouts of the One Ring, sends the Nazgul to recover it. Since the defeat in which the Ring was cut from his hand, Sauron himself can no longer assume a physical form. He can, however, act through those who have submitted their minds and wills to his service. The nature of the Rings of Power and of the Ringwraiths is made clear to Frodo before he accepts responsibility for destroying the Ring. The wizard Gandalf and Elrond, great leader of the elves of Middle Earth, determine who will accompany Frodo on his quest. To match the number of Nazgul, they include nine indivials in the Fellowship of the Ring, representing the people of Middle Earth: four hobbits (Frodo, his servant Sam, and two young friends, Pippin and Merry); the elf Legolas; the dwarf Gimli; two men, Aragorn and Boromir; and Gandalf himself.
The fellows all demonstrate some aspect of heroism. Gandalf has an aura of supernatural power. He risks his life and his power when he is pitted against other supernatural forces: his fellow wizard Saruman, turned evil by desire for the Ring; the Balrog of Moria, who leads him to at least a symbolic death; and the Lord of the Nazgul, who is reinforced by the great strength of Sauron. Gandalf』s heroism is beyond human imitation.
Human heroes abound in the trilogy: Aragorn, Boromir, his brother Faramir, the aged Theoden, Eowyn and Eomer (Theoden's niece and nephew), and the many warriors of Rohan and Gondor. Boromir at one point yields to the power of the Ring, trying to take it from Frodo, but he recognizes his weakness almost immediately and dies defending the younger hobbits, Pippin and Merry. Aragorn, descended from two great marriages of elves and mortals, has a grace and power beyond that of mere human leaders. With this heritage he seems like one of the great epic heroes of the past, just as Tolkien's trilogy itself at times echoes the heroic epic world. Aragorn plans, leads, encourages, and heals; he is always ready to risk his life for the salvation of others. When the royal line of the great kings of the West is "returned" to power by him, the free peoples of Middle Earth can again find justice and the age of men can begin.
The most "human" heroes are the four hobbits. Although at first they do not fully understand the dangers of the quest, their commitment grows in proportion to their knowledge of the nature of their enemies. Frodo undergoes the greatest test because the forces of Sauron concentrate their attacks on him. He is also tested by the Ring, by Gollum whom a lesser hero might have killed for his own safety, and by physical strain. Although Frodo at the last moment yields to the evil pull of the ring, he is saved by his own virtue: the pity that had spared Gollum. Frodo carries a sword, but he rarely uses it, except when he futilely strikes at the Lord of Nazgul; his heroism lies more in enrance than in battle.
Sam, like his master, enres, but he is called to fight against Gollum, Shelob, and the orcs. He delights in hearing the orcs misidentify him as a great elven warrior. Sam's major role in the trilogy is that of loyal friend. However, he is also the voice of normality, longing for the beauty of home, his family and friends in the Shire, his garden, and his pots and pans. Like Sam, Pippin and Merry exemplify friendship and heroism on a more attainable level. They are too small to fight the orcs who capture them, but they outwit them and travel with Fangorn and the ents to overcome Saruman. Back in the Shire after the destruction of the ring, Sam, Pippin, and Merry all share in the battle against more "normal" enemies: mere men.
Neither Elrond nor Galadriel participate in the quest, but they do contribute to its outcome. Elrond's power rescues Frodo from the Nazgul attack and his wound; and it is at Elrond's home that the fellowship is formed. Galadriel's gifts, especially Frodo's phial of light and the seeds of new life in Sam's box, symbolize the life-giving nature of the elves. When Galadriel later tells Frodo that the destruction of the One Ring will probably destroy the power of the Three Rings, it becomes clear how much the elves are sacrificing for the success of the quest. The 19 Rings of Power made by the elves of old had originally been formed as objects of goodness and beauty; it was Sauron who turned the rings he touched into sources of evil. Tolkien demonstrates how goodness can be perverted into evil, but he also shows that evil in turn can be overcome.
In his preface to the trilogy, Tolkien distinguishes between allegory and the applicability of works of literature to life. While he disclaims having imposed any allegorical significance on his story, he asserts the right of readers to apply the meaning of the story to their own lives as they see fit. In light of this disclaimer, it seems contrary to Tolkien』s intention to interpret The Lord of the Rings as political or social allegory, as some critics have done. On the other hand, readers of all generations can apply to their own age some of the overall principles embodied in the trilogy. The fact, for example, that elves, dwarves, hobbits, and human beings can set aside major differences to work together for the welfare of Middle Earth can be extended to a hope that modern human races can set aside their differences, no more deeply embedded than the distrust between dwarves and elves.
Many battles take place in Middle Earth—often violent and bloody ones. The heroes fight bravely, sometimes against terrible odds, but the "good" characters do not rejoice in fighting, except perhaps when Fangorn and the ents delight in overthrowing the tree destroyers, Saruman and his orcs, or when Legolas and Gimli compete over the number of orcs slain. Before the Battle of Bywater, after the return to the Shire, Frodo directs his companions to avoid killing their enemies if possible. Even Saruman would have been spared if his own cruelty had not provoked the enslaved Grima to turn against him.
Evil is readily recognizable by its ugliness and by its fruits. Goodness is equally recognizable and its fruits are more lasting. The author does not preach, but his good characters exemplify in action the virtues of mercy, perseverance, generosity, and friendship. Sauron, Saruman, and the Ringwraiths all embody the vices of hatred, greed, and the thirst for power. The influence of Sauron on those who once were normal men demonstrates the pervasiveness of evil, as does the ugliness of Sauron's land, Mordor. While the destruction of Sauron and the Ringwraiths suggests that evil can be overcome, it does not imply that the destruction of a major source of evil eliminates all evil. The Southrons continue to fight after Sauron's power has collapsed, Saruman's petty destroyers of good continue their work in the Shire, and Aragorn finds it necessary to establish guardians for his borders. Middle Earth after Sauron is no utopia, but it is a world very much like ours, one worth cultivating to bring forth beauty and goodness. In Gondor and in the Shire hope lives on.
參考資料：Microsoft ® Encarta ® Premium Suite 2005. &; 1993-2004 Microsoft Corporation. All rights reserved.
⑦ 指環王1英文觀後感
An ancient Ring thought lost for centuries has been found, and through a strange twist in fate has been given to a small Hobbit named Frodo. When Gandalf discovers the Ring is in fact the One Ring of the Dark Lord Sauron, Frodo must make an epic quest to the Cracks of Doom in order to destroy it! However he does not go alone. He is joined by Gandalf, Legolas the elf, Gimli the Dwarf, Aragorn, Boromir and his three Hobbit friends Merry, Pippin and Samwise. Through mountains, snow, darkness, forests, rivers and plains, facing evil and danger at every corner the Fellowship of the Ring must go. Their quest to destroy the One Ring is the only hope for the end of the Dark Lords reign!
⑧ 指環王英文影評
The Lord of the Rings: The Fellowship of the Rings is a movie for our times. If we look past the stunning visual effects, lush scenery, and spectacular action sequences, and listen to the wisdom of Gandalf and Galadriel we hear the quiet whisper of the true meaning of the film- heroism. The message of this film is that true heroes are not the great and powerful, but the everyday person placed unexpectedly into trying circumstances. What a message at this time in our country's history. On September 11th we saw normal, everyday peoples lives changed suddenly, unexpectedly. They were forced to be heroes, to work to save not only their own lives, but the lives of others too. As Gandalf says, we do not choose what times we live in, but we choose what we do with the time we have.
Remember this theme and focus on Frodo's trials and perserverance whenever you watch this movie. Remember the loyalty and friendship of Sam. That is what this movie is truly about.
Peter Jackson has created a visually stunning film, filled with action, yet rich with meaning. He has for the most part stayed true to the themes and sequences in the books. While he has changed some characters and scenes, those changes do not significantly alter the plot and in some instances actually improve it.
Though the movie is played out on a grand scale, the film is really about a story of one little hobbit, Frodo, and his unexpected challenge of having to be a hero.
The score by Howard Shore is superb, quite worthy of the Oscar it received. The score is destined to become a classic.
The cinematography is also superb, also definitely worthy of its Oscar.
My one criticism, is that Saruman is given more time on screen than in the books. I felt he should be more so behind the scenes as he was in the books. The more sinister evil is the evil that cannot be seen. Though Christopher Lee, as always, is superb.
The rest of the cast is also superb, especially Ian McKellen as Gandalf and Elijah Wood as Frodo. Kate Blanchett and Liv Tyler are also excellent in their roles, bringing a strong female presence.
⑨ 魔戒 英文影評
Evil is readily recognizable by its ugliness and by its fruits. Goodness is equally recognizable and its fruits are more lasting. The author does not preach, but his good characters exemplify in action the virtues of mercy, perseverance, generosity, and friendship. Sauron, Saruman, and the Ringwraiths all embody the vices of hatred, greed, and the thirst for power. The influence of Sauron on those who once were normal men demonstrates the pervasiveness of evil, as does the ugliness of Sauron's land, Mordor. While the destruction of Sauron and the Ringwraiths suggests that evil can be overcome, it does not imply that the destruction of a major source of evil eliminates all evil. The Southrons continue to fight after Sauron's power has collapsed, Saruman's petty destroyers of good continue their work in the Shire, and Aragorn finds it necessary to establish guardians for his borders. Middle Earth after Sauron is no utopia, but it is a world very much like ours, one worth cultivating to bring forth beauty and goodness. In Gondor and in the Shire hope lives on.
In The Lord of the Rings Tolkien demonstrates the evolution of a literary world. In The Hobbit, often considered a prologue to the trilogy, he created a kind of being with no parallel in literature; in the trilogy he expands his single hobbit hero into four hobbit companions and an assortment of helpers and enemies. The character of Bilbo from The Hobbit returns in The Fellowship of the Ring, the first volume of the trilogy. The central adventure of the trilogy spans three volumes, each divided into two books. Each of the six books builds to its own climactic ending, but an intricate system of interlacing allows the reader to move easily with the characters as the author fills in more details about the geography of Middle Earth, the history of its inhabitants, and the progress of the quest.
The expansive background against which the central action takes place conveys a sense of the universality of the conflict between good and evil. In this world everyone needs the support of others in overcoming obstacles and in doing good. Many of the background sections treat the nature of evil as a distortion of what could have been good. Basic to the history of the One Ring is the thirst for power of its creator, Sauron. In the central volume of the trilogy, The Two Towers, the desire for the power inherent in the Ring has also corrupted the wizard Saruman. Tolkien's analysis of the corrupting nature of power explains why three of his strongest forces for good—, Galadriel, and Aragorn—refuse to take the Ring and why Bilbo is unable to resist its control. As the story develops, one major source of Bilbo』s nephew Frodo's internal conflict lies in the pull of the ring itself. The success of Frodo's quest flows from mercy, friendship, enrance, and the courage to risk life and happiness for the good of others.
⑩ 魔戒英文影評200字
短一點的
I thought The Lord of the Rings was a great movie. I thought the filmmakers made excellent use of the medium, so it was easy to excuse the deviations from the book. I thought the movie's approach really complemented the book and thought Elijah Wood's portrayal of Frodo was severely underrated.I really love The Lord of the Rings.
OK?
這個比較長
The reason why this first part of Jackson's 'Lord of the Rings' is superior to his latter two parts is because of restraint. Jackson was restrained from over doing it with the CGI and "epic" battle sequences, which in my opinion does not make a story epic. Part of the reason was simply because Tolkien did not have very many battles in the first part of his book, which thankfully forced Jackson to focus on creating a believable world rather than a believable hack-n-slash action movie.
I don't find much entertainment in watching people mutilate each other, but I love it when a movie engages me in a world, and 'The Fellowship of the Ring' does just that. Certainly the most breathtaking scenes in the movie are the moments of patient observation, when the camera pans around and captures the beautiful settings of Middle Earth. I must give Jackson credit. He did hire some very extraordinary artists that have envisioned one of the grandest interpretations of Tolkien's world.
There are about five particular moments that stick out in my mind and gave me that tingle of goosebumps down my spine when I saw them for the first time. The first is the introction to Hobbiton. After the somewhat awkward prologue, I was beginning to have my doubts to whether the movie would live up to the book. But the movie surprised me. Hobbiton is perfect. The houses have flower patches and old fences, the roads look worn and made through decades of travel, and the Old Mill spins with the laziness of a quiet town. Every color is vibrant and every moment looks as through it was taken out of a picture book. Although I still don't agree with the particular look of the Hobbits, I believe everything else in Hobbiton is worthy of Tolkien's words.
The second moment comes after Frodo's awakening in Rivendell, and the third, ring the exploration of the Halls of Moria. In both moments, the camera pans away from the characters and outward into a static shot of their surroundings. The moments make us feel like we're turning our heads and gazing at the world around us just as the characters do. The golden waterfalls of the elven city mark an interesting contrast with the dark halls of the dwarfish mines, but each are inspiring in their own ways and add to feeling of being engaged in a living world.
My other favorite moments come ring the exploration of Lothlorien and the passage down the Anin. And while I won't go into detail about the scenes, since they really should be experienced without any prior expectations, they are monuments in imaginative cinema. 'The Fellowship of the Ring' is one of those rare movies that I always wish I could reexperience for the first time. Unfortunately, Jackson turned away from exploring Middle Earth in his next two movies, and instead, turned to fighting and warfare. He seems to take a lot of pride in the love story and battle sequences he created in 'The Two Towers' and 'The Return of the King,' but it is was in his first movie when he really got it right. In 'The Fellowship of the Ring,' it's okay if the characters are uninteresting and have silly dialogue. Middle Earth is the star, and the characters are the ones seeing it for the first time.
We have been waiting an entire year for this one!!! The Two Towers picks up right where last years Lord of the Rings: The Fellowship of the Ring leaves off. The director, Peter Jackson, did not include a recap of the last movie, so if you don't remember what happened in the first movie you better rent it and refresh your memory before you head off to the theater.
When we last left our fellowship, it had splintered apart. Frodo Baggins (Elijah Wood) and Sam Gamgee (Sean Astin) continue there quest to return the all powerful and evil ring to Mordor where it can be destroyed. They take on the creature Gollum (Andy Serkis) as their guide to Mordor despite Gollum's obsession with getting `his precious' back. Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies) begin by trying to find the kidnapped Merry (Dominic Monaghan) and Pippin (Billy Boyd), but end up getting caught up in a battle to save a race of humans. The evil wizard Saruman (Christopher Lee), controlled by Dark Lord Sauron created a grand Uruk-hai army that is sent to destroy the race of Humans at the fortress Isengard. The presumed dead Gandolf (Ian McKellen) also returns to lend his assistance in battling Lord Sauron's troops.
This film was better paced than the first in the trilogy. There were still some breaks in the action that were a little ll, but the dialog was necessary to further the story. With three separate stories going on simultaneously between the three groups of the splintered fellowship, the film kept the action moving quickly. Clocking in at 179 minutes, it is just one minute longer than the first film. This time, I didn't mind the length. The battle for Isengard comprised about a third of the film, and it was very intense.
The rest of the film had a lot of the same excellent cinematic shots as the first movie. The shots tracking the actors from above (done by helicopter) with the beautiful New Zealand mountains and countryside in the background were just amazing. The landscapes helped to keep me involved with the story when the action slowed for dialog intensive scenes.
The creature Gollum played a very key roll in this movie, and the computer-generated character was very lifelike and amusing. He reminded me of Dobby the `house elf' in Harry Potter and the Chamber of Secrets. Gollum and the Dwarf were the two main comic relief characters in this very serious film.
To conclude, we had to wait a year for this film, and it lived up to expectations! A final reminder…this is the middle film in the trilogy so you can expect another ending that leaves you wanting more! Not to worry though, the third and final film is e out next Christmas.
This is the final movie in the Lord of the Rings trilogy, and certainly doesn't disappoint like some other trilogies *coughMatrixcough*. The three films had their principal shooting all done at the same time, which lowers their overall costs and keeps a good sense of continuity for the films.
The special effects, first of all, are excellent. While there's a few little things (a reversed shot with smoke flowing back into chimneys and occasional lighting that's a bit off), by and large they're excellent. The most impressive thing about them is the sheer scale. This isn't a small or simple scene; it often includes thousands of digital characters combined with filmed actors and action, sweeping landscapes, and dozens of things happening at once. This is a good reason to see it in theatres; even on DVD, there's little details that you can only catch when it's on a massive screen.
The filming is good, although there are a few evidences of digital smoothing and cutting that can nag at the mind and eyes of a picky movie-goer. There are a few interesting shots, but most are fairly plain and straight on, getting the point across without being dazzling. New Zealand's landscapes provide a great backdrop for everything going on, and there really are some beautiful places, especially up in the mountains. I hear land prices are quite good, what with the orcs warring and everything, so you may want to look into real estate purchases now.
Sound has been said to make 75% of the emotional impact of any proction. This is a loud 75%. All the sound effects are very well pulled off, sound appropriate, and are generally loud. The Nazgul screeching was bordering on painful, but in a good way. Most everything has a distinct sound, and it's rare that anything feels out of place. In some of the battles, the roof of the theatre was shaking. The soundtrack fits the movie well, and Howard Shore has done an excellent job, as with the last two films in the series.
Performances all around were good, but Sean Astin as Sam and Viggo Mortensen as Aragorn really dominated the film. They performed their roles perfectly, and came away giving a good picture of the characters. Elijah Wood seemed to be stuck with the same terrified expression on his face through most of the movie, almost Max Payne-style, and it grew old quickly. Ian McKellen, the ever-wise white wizard, had a fair bit of dialogue which he delivered well; my only complaint is he had too much in the way of wistful sayings leading to scene changes. Orlando Bloom, favorite of young teenage girls everywhere, had a few more action sequences (which got cheers from the aforementioned girls) which were quite well pulled off, but his acting wasn't much tested by this film. John Rhys-Davies continued with Gimli's joking performance; he's really too amusing to take seriously, but does a good job at it.
For the old Tolkien fans, this movie stays quite close to the book, although they did have to omit some portions, most notably the taking and retaking of the Shire and the time spent in the Halls of Healing in Minas Tirith. Hopefully some of this will show up in the Extended Edition on DVD. Shelob's attack was left until this film, and much of the time spent in Mordor was shortened for the sake of pacing, and it was a good decision.
My favorite scene would have to be the battle at Minas Tirith. The incredible scope of the battle, with the special effects, sounds, and many close-ups of pieces of the action, make for an exciting scene. The visual effects especially are stunning; the 'oliphaunts' play a big part in the action, and they're entirely created by computer. There's also some wide shots with tens of thousands of digital characters marching on the field of battle, and even the indivial actions have the masses warring as a backdrop. It's worth your movie-going dollar simply to watch this on a large screen. It was also intermingled with some smaller events inside Minas Tirith, so it's not pure battle for the whole of the scene, and it keeps it from being dreary or heavy-handed.
Overall, this is a movie well worth watching, and even paying to see in a theatre. I'd recommend against bringing small children, as there are some scary images, and they'd also be a distraction ring the final movie in what will probably remain the series of the decade. Not a particularly great date movie, either...this is a real, bring-your-friends big movie. Five out of five decapitated orcs (and trust me, there were a lot more than that).