once的影評

⑴ 《穿Prada的女王》影評

有點長
The Devil & the Gray Lady
All about vogue.

By Mark Goldblatt

ruman Capote, who had a stake in saying so, once famously declared, "All literature is gossip." He was wrong, of course, but it's the kind of declaration that bamboozles literary types by its very implausibility; something so obviously false must be profound, so it gets repeated at cocktail parties and invoked in book reviews (like this one) until it becomes an inside-out cliché, a false truism, a knowing nod towards nothing whatsoever.
Still, an interesting question emerges if you reverse Capote's dictum and ask whether all gossip is literature. It's a question that surrounds the most gossipy novel in recent years, The Devil Wears Prada by Lauren Weisberger, and percolates within the critical jihad the book ignited at the New York Times. The fact that the paper twice reviewed a literary debut by a previously unknown author would be noteworthy in itself; what's unprecedented is the fact that its reviewers twice ripped the book to shreds — arguing not simply that it fails as literature, but that it should never have been published in the first place.

Why all the fuss?

Weisberger, it seems, once worked as a personal assistant to Vogue editor Anna Wintour, and the novel is thinly veiled account of her nightmarish experiences at the magazine. That this should matter to reviewers at the Times is slightly bizarre — even if, unlike me, you care about Anna Wintour, or you think Vogue has made a significant contribution to Western Civilization. It's not as though Weisberger is sailing into morally uncharted waters. Saul Bellow's latest work, Ravelstein, is a thinly veiled account of his friendship with the critic Allan Bloom, and arguably Bellow's greatest work, Humboldt's Gift, is a thinly veiled account of his friendship with the poet Delmore Schwartz. Both of Bellow's books are warts-and-all portraits, and the same can be said, in spades, for Weisberger's portrait of Wintour. The fact that Wintour is still alive, whereas Bloom and Schwartz were deceased when Bellow immortalized them, cuts both ways. Wintour may be psychically injured by the appearance of her fictional counterpart, Miranda Priestly, but at least she has the chance to distance herself from the ogre Weisberger gives us. With a nod to Capote, then, if at least some gossip is literature, why should Weisberger be pilloried for engaging in it?

None of which is to suggest that The Devil Wear Prada is great art. It is, rather, a wildly uneven book, by turns clumsily self-righteous and wickedly funny. The wafer-thin plot recounts the struggles of the narrator, Andrea Sachs, to maintain both her integrity and her sanity after she lands a "dream job" as personal assistant to Miranda Priestly at Runway. The detail that Andrea's real ambition is to write for The New Yorker would be a perfect ironic touch — she must enre the slickness of fashion in order to achieve fashionable slickness — except that the author seems to regard this as a altogether commendable goal. She is reminded to keep her eyes on the prize by her devoted boyfriend, Alex, who (gag me) teaches underprivileged children; also keeping Andrea grounded is her roommate Lily, whose hard drinking and promiscuity derive from the fact that "she loved anyone and anything that didn't love her back, so long as it made her feel alive."

The chapters with Alex and Lily are at times almost unbearable. Fortunately, they are offset by chapters in which Miranda Priestly takes center stage. Miranda is one of the great comic monsters of recent literature; Cruella de Ville is an obvious antecedent, but Miranda more closely resembles a Hermes-scarf wearing Ahab in pursuit of the great white whale of immediate, absolute inlgence. In Miranda's universe, two pre-publication copies of the latest Harry Potter book must be flown by private jet to Paris so that her twin daughters can read them before their friends; it's up to Andrea to make the arrangements on a moment's notice. Tough, but do-able. More finesse is required when Miranda asks Andrea to hunt down the address of "that antique store in the seventies, the one where I saw the vintage dresser." Of course, Andrea wasn't with Miranda when she saw the dresser, so she winds up trekking to every antique store — and, just to be safe, every furniture store — between 70th and 80th Street in Manhattan, grilling clerks to find out whether the famous Miranda Priestly had stopped by recently. Three days later, Andrea admits defeat . . . only to have Miranda inform her, impatiently, that she's just located the store's business card, the one she thought she'd lost. The address is on East 68th Street.

Miranda requires up to five breakfasts per morning so that whenever she arrives at the office, a hot meal will be waiting; reheating isn't an option. The other four must be thrown out because her assistants aren't permitted to eat in her presence. Nor are they permitted to hang their coats next to hers. Nor to request clarifications if her demands are indecipherable: "Cassidy wants one of those nylon bags all the little girls are carrying. Order her one in the medium size and a color she'd like."

There's a kind of grotesque heroism in this, an obliviousness to the feelings of others that is larger than life — and thus mesmerizing. When Weisberger's novel succeeds, it succeeds on these terms. No one who reads the book will forget Miranda Priestly.

Towards the end of The Devil Wears Prada, Andrea's novelist friend informs her, "What you don't seem to realize is that the writing world is a small one. Whether you write mysteries or feature stories or newspaper articles, everyone knows everyone." Indeed, it's hard for an outsider to grasp just how incestuous, how inbred, the New York publishing scene is nowadays. The odds of finding a non-conflicted reviewer for a gossipy roman a clef about the scene itself are therefore remote. In theory, this isn't a problem — as long as the reviewer approaches the task in good faith. (In good faith, for example, I should note that Weisberger's former writing teacher is a close friend and co-author of mine; on the other hand, her editor at Doubleday once turned down a book I wrote . . . and keep in mind that I'm really an academic, so I'm kind of bivouacked on the outskirts of the milieu Weisberger describes.) To say that the Times lacked good faith in reviewing The Devil Wears Prada understates the utterly unconscionable, and downright vindictive, way the paper went after the thing.

The onslaught began with a full-page review in its Sunday edition by former Harper's Bazaar editor Kate Betts. Betts herself was once Anna Wintour's protégé, a point Betts mentions in her final paragraph — not as a disclaimer but rather as an excuse to lecture Weisberger on the ethics of having written her novel: "I have to say Weisberger could have learned a few things in the year she sold her soul to the devil of fashion for $32,500. She had a ringside seat at one of the great editorial franchises in a business that exerts an enormous influence over women, but she seems to have understood almost nothing about the isolation and pressure of the job her boss was doing...."

This may or may not be true, but it has nothing whatsoever to do with what's between the covers of Weisberger's book. That, however, is the least of Bett's concerns in a review which alternates between sniping at the author and sucking up to former Vogue cronies. "Nobody would be interested in this book," Betts declares, "if Weisberger were spilling the beans about life under the tyrant of the New Yorker." (Tell that to Brendan Gill whose memoir Here at the New Yorker was a bestseller in 1975.) Betts refers to one of Weisberger's characters as "a pale imitation of the incomparable André Leon Talley" (For the record, I know more than a few people in the fashion instry, and they're all remarkably comparable.) and to another as "a cheap shot at the food writer Jeffrey Steingarten, whom she [Weisberger] should have been studying for lessons in how to write." This is nasty stuff. And it's of a piece with the rest of Betts's review — which displays all the emotional maturity and intellectual balance of Leo Gorcey in the old Bowery Boys films. Betts is not critiquing a work of fiction; she's putting up her kes to defend her home turf.

You'd think Betts's outburst would suffice, from the Times's point of view, would stand as an awkward lapse in editorial judgment but nothing more. You'd be wrong. The newspaper, it turns out, was not through with Weisberger by a long shot. One day later, Janet Maslin weighed in for the daily edition — and matched Betts's spitefulness point by point. Maslin's review begins: "If Cinderella were alive today, she would not be waiting patiently for Prince Charming. She would be writing a tell-all book about her ugly stepsisters and wicked stepmother . . . dishing the dirt, wreaking vengeance and complaining all the way. Cinderella may have been too nice for that, but Lauren Weisberger is not."

Again, what's actually between the covers of The Devil Wears Prada is mere background noise; first and foremost, Maslin is reviewing not the novel itself but the idea of the novel. She refers to it as "a mean-spirited 'Gotcha!' of a book, one that offers little indication that the author could interestingly sustain a gossip-free narrative." With an indignant nod towards Weisberger's recent publicity tour, Maslin speculates that the author "can devote a second career to insisting that [the novel] is not exactly, precisely, entirely one long swat at the editor of Vogue." And again: "The book's way of dropping names, labels and price tags while feigning disregard for these things is another of its unattractive qualities. It's fair to assume that nobody oblivious to names like Prada will be reading this story anyway."

Curiously, Maslin neglects to mention the name Anna Wintour even once in her review. "That was very deliberate on my part," she later explained to the Daily News. "I think that when a tell-all author takes a cheap shot at a well-known person — in a book that would have little reason to attract attention without that cheap shot — then reviewers need not compound the insult (or help promote a mediocre book) by reiterating the identity of the target."

Fair enough, but then why review the book in the first place? Given how many books are published each year, and how few the Times actually reviews, why would the paper twice in two days go out of its way to hammer a first novel by a hitherto unpublished writer? (Another point of disclosure: The Times did not review my first novel last year.) The answer cannot be that The Devil Wears Prada was heavily promoted . . . since even a cursory glance at its own bestseller lists will reveal many mega-hyped books the Times wouldn't touch with a ten-foot highlighter.

Of course, the Times has bigger problems these days — Jayson Blair's tendentious, fabricated reporting and subsequent resignation, Howell Raines's white-man's-burden agonizing and subsequent resignation, and Maureen Dowd's sneaky doctoring of a presidential quote — than the integrity of its book-reviewing process. In another sense, however, the treatment of Weisberger's novel is consistent with, for lack of a better phrase, an absence of alt supervision on 43rd Street.

⑵ 求一篇關於電影《贖罪》的影評論文

補充：樓主想要專業影評網站是吧？豆瓣網~~~，我經常看經典老片之前，都會去看看評論，相當有水準！！

劇情簡介 ······
1935年夏天，來自一個寬裕的英國小康家庭的13歲的少女布里奧妮（斯奧里茲•羅南 飾）剛剛開始嘗試寫作,想像力豐富。一天，她暗中發現僕人的兒子——羅比•特納（詹姆斯•邁克沃伊 飾）和她姐姐塞西利亞（凱特•奈特莉 飾）之間有曖昧關系，而且發現他給她寫了一封充滿情色意味的情書。布里奧妮豐富的想像力虛構著各種可怕的事情，浮想聯翩。當她的表姐羅拉被強奸後，布里奧妮相當肯定她看到是羅比做的，這次指證使羅比蒙冤入獄，留下傷心欲絕的塞西利亞。
第二次世界大戰爆發了，出獄後的羅比和塞西利亞都投入了保衛祖國的戰斗，布利奧妮也成為了一名軍隊醫務人員。經歷世事之後的布里奧妮終於愧疚，主動走向羅比與塞西莉婭，為自己當年的所作所為道歉，但是無情的戰爭先後奪去了羅比和塞西利亞的生命，留下布里奧妮活在深深的自責中而無法贖罪

________________

之前已經覬覦很久了。從想去看到制定計劃去到最終走進電影院去看一共拖了1個月+。所以我的期望可能過高了...然而，

我還是覺得是個好片子。客觀的講，它是：氣氛壓抑，豐富含蓄，充滿張力，英國。有對壓抑的情感私密表現，也有宏大的戰爭場面。
有點納悶Ian McEwan怎麼想到去寫這么個故事的。。。就像上次看完Notes on a Scandal之後一樣的納悶。

廢話連篇。簡短評論兩句吧。

1，故事沒什麼可說的，好故事！當然，原作者功勞很大。
2，但編劇的功勞也還不算被抹殺，1935年那個夏日發生的事情，從Briony的視角和實際事件發生兩個角度敘述，很聰明，也很必要。
3，鏡頭調度非常好。法國敦刻爾克海灘上戰場那個長鏡頭尤其令人印象深刻。
4，表演：

(1)，Keira Knightley無疑是個花瓶。Cecilia這個人物沒什麼特別的性格。我感覺本片中她大部分時間都是按捺著的氣鼓鼓的樣子。

(2)，Briony Tallis的老中青三個演員里，Venessa Redgrave最好。她結尾的坦白非常有力量。13歲的Briony也很出挑，我覺得她就是個陰郁的，充滿想像和思慮的，令人害怕的小女孩。這個女孩的心理層面很復雜，她以為她理解她看到的東西，但是她沒有。她對於事情的懷疑，窺探，揣摩。。。她對於Robbie的懵懂的喜歡。。。總之都把握得挺好。倒是 18 歲的Briony差了點事。敗筆敗筆。

(3)，James McAvoy非常光彩。1935年的Robbie首先是個善良的男孩，帶著年輕人的純真的感情，就像他信里說的：

Dearest Cecilia, the story can resume. The one I had been planning on that evening walk. I can become again the man who once crossed the surrey park at sk, in my best suit, swaggering on the promise of life. The man who, with the clarity of passion, made love to you in the library. The story can resume. I will return. Find you, love you, marry you and live without shame.

在看到這段話，眼淚就一下子流出來了。
他們都那樣充滿希望和愛情，然而，他們在一起的時間總共只有。。。圖書館的十幾分鍾，和在倫敦街上的半個小時。
尤其是當你想到，即使在倫敦Cecilia狹小的房子里的共同生活，他們也不曾擁有過。
當你聽到老年的Briony說出了這一切時，心裡會非常非常難受，堵著似的難受。

Robbie的善良表現在他毫不猶豫地跳進水裡去救Briony，他帶著出走的雙胞胎慢慢走回來。然而接下來他便面對著那場變故，那一幫子人。。。那個場面非常的英國：你可以想像所有人的心裡都是怎樣翻江倒海的，但是沒有人說一句話，沒有人動。媽媽說，Briony，你該上床去睡覺了。
光影的中心站著著一襲綠裙的Cecilia，畫面非常好。

歷經了那一切之後，Robbie的性格發生了一些轉變，這些對演員要求很高。

兩人在倫敦餐館里的會面非常很令人動容。McAvoy居然只有1.7米（正正好好的）。但是他的眼睛，很純粹的藍色眼睛，還是不大容易抗拒。

5，音樂很好。很好啊很好。也可能是因為在電影院里看的緣故....? 打字機的聲音嗒嗒的，伴著那個急促的鋼琴主旋律，醞釀著極大的不安。

本片導演是Joe Wright，前一陣導了新版的傲慢與偏見的。我對那一版P&P的確沒有什麼好感。但是Atonement還是不錯的。

ps 這片子獲了金球最佳影片。然而發現自己不像當初那樣覺得它有那麼好了 - 再看到Keira Knightly的表演就有把它關掉的沖動，連James McAvoy在場也阻止不了。-_-||

時尚、唯美、簡單、直觀「美女圖片網提醒您為了您的身體健康，請每天吃一個蘋果，遠離電腦，呵護身體」

⑶ My girl影評

LZ好，Audrey Hepburn is radiant and touching as the poor flower seller Eliza Doolittle who challenges her mentor's makeover powers, before eventually passing for a lady in London society... She is skillfully transformed into an elegant lady by a speech professor Henry Higgins (Rex Harrison) and taught to speak properly... From first frame to last, the film is slick, graceful, gorgeous to behold, with costumes and sets richly evoking the Edwardian era...

'My Fair Lady' begins in London, on a rainy evening outside Covent Garden, where a 'respectable girl' is selling bouquets of violets... Professor Henry Higgins, a phonetics and linguistics expert, confronts the 'deliciously low so horribly dirty' Eliza Doolittle for the first time...

In the best tradition, their first songs reveal their characters: 'Wouldn't It Be Loverly?' expresses Eliza's own ideas of what she dreams, while in 'Why Can't the English Learn to Speak' Higgins sings his despair over the deterioration of the English language, and displays his hard, irritable, intolerant, and elegantly arrogant nature...

Lerner and Loewe's songs are shear delight as the story moves from Higgins's wager with sympathetic Colonel Pickering (Wilfrid Hyde-White) that he can change the street girl with a strong cockney accent into a different human being by teaching her 'to speak beautifully' and pass her off in an upper class lady within six months... Higgins and Pickering are both single men, and the housekeeper, Mrs. Pearce, has misgivings about the way in which they are proposing to amuse themselves without caring about the consequences for the "common ignorant girl."

The songs are extraordinary in their ability to enrich our knowledge of the characters... Higgins' early song 'I'm an Ordinary Man' confirms that he is a 'quiet living man' without the need for a woman... Alfred Doolittle's 'With a Little Bit of Luck ' not only states his general philosophy of life, but exposes the perfect portrait of a friendly scoundrel... Eliza's father, who calls himself one of "the undeserving poor" is one of Shaw's best comedy creations... When he arrives to protest at the immorality of Higgins and Pickering treatment of his daughter, it soon becomes clear that he just wants to gain something for himself out of the situation... Eliza, becoming subject to Higgins' intimidation, belts out her discomfort at the rude, selfish Higgins, imagining a king ordering his death, in "Just You Wait, 'Enry 'Iggins."

The music is also a logical extension of the characters' feelings... When Eliza finally pronounces impeccably: 'The rain in Spain stays mainly in the plain,' Higgins can hardly believe what he has heard: ('By George, she's got it. Now once again, where does it rain?'), and Eliza ('On the plain! On the plain!') and Higgins simply cannot be contained ('And where's that soggy plain? ') Eliza responding: In Spain! In Spain! They sing a et together to celebrate their success... The scene leads to one of the most triumphant sequences in musical history...

Further, the stunning scene in which Eliza Doolittle appears in high society when she meets Higgins's mother (the impeccable Gladys Cooper), and attends the Ascot races... She instantly charms a young admirer Jeremy Brett (Freddy) by her slightly odd manner of speaking, who later haunts Higgins' house ("On the Street Where you Live").

The climax comes at the Embassy Ball, where Higgins' protégé, now "an enchanting young lady" charms everyone with her beauty... Her exercise is an unqualified success... Her waltz with the Queen's son, and other dance partners, spreads throughout the audience about her identity...

Henry and Pickering are ecstatic... They congratulate each other for their "glorious victory," ('You Did It'), but Eliza is hurt and angry at being ignored... They barely acknowledge her presence... She is no longer a part of any world... When Higgins returns for his slippers, which he has forgotten, Eliza flings them angrily at him, and voices her feelings: 'Oh, what's to become of me? What am I fit for?'

In an attempt to find her true identity a frustrated Eliza encounters Freddy who declares his love for her, but she returns to the populated flower market outside Covent Garden, where no one recognizes her... Her own 'miserable' father - tuxedo-dressed - gives her the cheerful news that he is about to get married...

In the closing scenes, Higgins is upset to discover Liza has left him and is led to wonder why 'can't a woman be more like a man? Men are so honest, so thoroughly square.' Eliza surprises Higgings with her decision to marry Freddie, and claims: 'I shall not feel alone without you. I can stand on my own without you. I can do bloody well 'Without you!'

At his home, at sk, Higgins ultimately recognizes Liza's quality... He recalls Liza and realizes how much she has come to mean to him... Without her, he is lost and lonely...

The climax is a great ending to a great musical...

'My Fair Lady' has great style and beauty... The film describes what is common in many societies... That accent determines the superficiality of class distinctions... The motion picture is humorous, notably the wonderfully steamy bath in which Prof. Higgens' female staff cleanses the accumulated dirt of the street off Eliza Doolittle...

With the dazzling splendor that director George Cukor offers: the designer's eye for detail, the painter's flair for color, the artist's imagination, and the delicacy of handling, the film garnered no less than twelve Oscar nominations, and took home eight statuettes including Best Picture of the year, Best Actor- Harrison, Best Director- Cukor, as well as Best Art Decoration, Sound, Scoring, Costume Design, and color Cinematography... 40希望對你有幫助！

⑷ 求電影迷失東京影評

lost in translation空白 東京.印象的鐵灰開篇是酣睡女孩姣好的身線，青春的臀形卻沒有半點情色的慾望。隨著鏡頭彷彿定格般的緩慢推進，男人蒼老的容顏驟現。夢醒不知身何處，男人溢滿酒後疲憊負累的臉龐，溝壑縱橫，有誰能說自己更愛他如今飽受摧殘的面容？擁擠的東京，連酒吧也找不到清凈。紅發紅衣的歌手把滿腔別致而慵懶的熱情唱出了口，卻沒有半個人真正明白她在唱著什麼。對他們來說歌曲只是一種氛圍，更遑論其中能有多少真心正在用一種他們不懂(查看全文)
2008-12-29 22:388人回應 | 2人推薦 我來回應>> 謝謝觀賞懶得私奔 他微笑著，轉身消失在人海。那種情緒，是什麼？淡淡憂傷，卻又釋然，坦然，黯然。無從說起，也無處可說。這一場離別，這個深深的擁抱，無法停留也無可停留的不舍，最後，彼此，在人生里消失不見。孤獨的心，可以被安慰嗎？一瞬交會時的耀眼光芒，會在你的生命里留下美好的夢境一般的回憶。因為美好，所以沒有結局，因為沒有結局，所以更加美好。迷失東京。迷失一段似是而非的感情。最後他在她耳邊的低語，無人知曉。也(查看全文)
2009-02-08 18:386人回應 | 2人推薦 我來回應>> 迷失東京yanglu0521 人總在潛意識中尋找同自己相似的人

於是

他和她自然而然的走到了一起

在東京這個地方

他們的寂寞

無助是如此的顯而易見

聽不懂的語言

看不懂的節目

周圍的喧囂聲響

與他和她格格不入

失意 迷茫 孤獨

點到即止。(查看全文)
2008-12-30 19:052人推薦 我來回應>> 另一個版本的Onceliking0602 once里有的是興趣相投的年輕人的感情，純情又奔放。 lost里的是共享孤獨的往年交，隱忍又熱烈。他們都是相遇又分開的故事，都是曾懸在一種微妙的感情邊緣的故事，不過幸好，這一段美好的感情都在分別之後讓人不曾有過什麼額外的遺憾。因為寂寞遇見，在人流的道口分開，滿含淚水，卻不曾有遺憾。孤獨點到即止，狂歡的夜東京。寂寞還是會繼續下去，不過至少還是擁有這么一段短暫美好的lost。just once(查看全文)
2009-10-27 03:391人回應 | 我來回應>> recomendedsmile1004 knowing the movie from my teacher,i know the importance of translation and the love between old and young,strangers and acquaintance.because of love,the main two actors loved tokyo.it seems like our f(查看全文)
2010-10-27 15:50我來回應>> 這是經典中的經典，它講的使我們生活的無助與無奈，每個人試圖抗爭，試圖挽回一些需要的東西，去無能為力，無法溝通，有不可迴避。最後，為了生存，或者不那麼的痛苦，終於最後回頭，cqysdxl 這是經典中的經典，它講的使我們生活的無助與無奈，每個人試圖抗爭，試圖挽回一些需要的東西，去無能為力，無法溝通，有不可迴避。最後，為了生存，或者不那麼的痛苦，終於最後回頭，繼續著抗爭與妥協，全因人的希望於對完滿的追求。(查看全文)
2010-03-06 19:39我來回應>>

⑸ 肖申克的救贖 影評

The story may sound simple, but the truth behind the words is remarkable. When I heard the name of the film first time, I considered the Shawshank to be a man』 name, but in fact it is a jail』s name——a hell in the world. Not only for the inhumanity of the jailors——they behaved brutally; but also for the jail gnawed at people』 heart by keeping them waiting and waiting as life passed. It seemed that only those utterly worthless people who gave up everything could survive. That』s where the story happened.

The part impressed me most is when Andy got out of the jail. He extended his arms in front of him in the heavy rain as if he were welcoming the fresh air and the freedom. At that moment, I saw the confidence win the darkness, discharging light dazzling the eyes in the dark blue sky. Under the light, I could feel my recreant heart being shivering as his voice said: 「Remember, Hope is a good thing, maybe the best of things and no good thing ever dies!」

That』s why I like this film: it encourages people to fight to preserve the dignity of human beings, to appreciate the beauty of life, and the most importance is to keep hope forever. He once that is born, that is die. Everyone is the same. The only difference is whether busy living or busy dying. The film tells us that even a man can live once, but if he keeps confidence, keeps hope and works his life right, then once is enough. The congfidence is the bird that feels the light when the dawn is still dark, the hope is the chief happiness that this world affords, and the life should be full of the singing of the bird and the happiness hope brings. " What』s that do you think? It』s the trembling of the heart, the singing of the mind, the flying of the soul and the hope to be free.」

⑹ 特洛伊影評

其實這部電影就是和神無關的。我們不應該指責爾夫岡·彼德森，他只是努力地希望用自己人性的方式詮釋這么一個膾炙人口婦孺皆知的神話故事。十年的漫長戰爭濃縮成十五天的廝殺，神的子女最後也被凡人所害；而海倫，也就是用普通的美女代替絕色天香的傳說了。

沉醉在電影中，我忘記了所有熟悉的背景。忘記了海中漫舞的女神忒提斯的憂傷；忘記了雲霧中放出神箭的阿波羅的卑劣。電影中，我只看到了兩個人：阿咯琉斯和赫克托爾。彼德森也許只願意我們看到這兩個身處戰爭旋渦中無法逃避自身悲劇命運的英雄。

悲劇首先在於無法選擇的命運和自身內心掙扎的沖突。阿咯琉斯註定是個戰士，他生存的唯一目的就是為了戰爭中的榮譽。正如他自己說的：我不是為某一個人而站，我是為了全希臘，我是為了希臘的戰士和他們的妻兒而戰。他的母親再次確認了他的終極宿命，你是為這場戰爭而生的，你也將為這場戰爭而亡。

只是他沒有想到他還會有愛情的發生，他的溫情脈脈和被奪取的慘痛欲絕讓他在戰場之外同樣顯得高貴。他甚至已經選擇了逃避這場戰爭，盡管痛惜戰友的犧牲，盡管痛心生命的踐踏，可是他依舊按捺住自己沸騰的戰火。他最後倒下了，為了拯救一個女人。他鑽進木馬的唯一目的竟然就是找到並且保護這個女人。他奔跑在這個被廝殺搶掠的城市，目光急切，呼喊悲戚。這個時候我感懷於一個神的人性回歸。

赫克托爾同樣充滿著高貴和悲凄的命運，這該是西方藝術的一種主脈絡了。西班牙劇作家維伽在《當代編劇的新藝術》一文中提到：「悲劇是王室和高貴的行動。」赫克托爾該是電影中的一個悲劇性人物代表了。從允諾承擔弟弟的行為後果開始，他就已經知道城邦和自己的命運。盡管他鄙視弟弟的怯懦，可是作為兄長他承擔了罪責；而在誤殺阿咯琉斯的堂弟後，他坦然地接受挑戰，走向死亡。他讓他的士兵明白一個男人的尊嚴：維護自己的榮譽，愛護自己的妻兒，保衛自己的國家。做個簡單的男人，是那個時候多麼難以實現的夢想！

一個崇尚武力的世界竟然存在著這么兩位彼此惺惺相惜，厭惡戰爭憎惡死亡，卻又是被萬人景仰的勇士。他們嚮往著安寧和平快樂的生活，不僅是滿足個人，更是希望這個世界有著美好共榮的時候。可是他們總是被驅策著撲向戰場，刀起劍落，熱血噴濺，而廝殺的勝利和戰爭的榮譽中似乎看不見他們的笑臉。他們用生命譜寫了一場神話戰爭中的人性悲歌。

In fact, the film is nothing to do with God. We should not blame Wolfgang Petersen, who is just hard to want to use their own interpretation of human nature such a popular way of including women and children's fairy tale. Condensed into a decade long war in 15 days of the athletic field, God's children, the last of the victims have been ordinary mortals; and Helen, that is, instead of stunning beauty with the general legend of a heavenly fragrance.

Basking in the movie, I forgot all of the familiar background. Forgotten waving sea goddess Thetis sorrow; forget the clouds release the Apollo sky despicable. The movie, I only saw two people: A strategic Grand Adams and Hector. Peterson may be only willing we can see that these two are in the vortex of war can not escape the tragic fate of their hero.

First, the tragedy is that no choice in destiny and their own inner struggle conflict. A strategy destined to be a fighter Grand Sri Lanka, his sole purpose of existence is to honor the war. As he himself said: I am not for a specific indivial and station, I was the whole of Greece, I was in Greece in order to soldiers and their wives and children fight for it. His mother once again confirmed his ultimate fate, you are born for this war, you will also died from the war.

Only that he did not think he will have taken place of love, his sentimental and tragic stricken captured on the battlefield outside of him the same look noble. He even has chosen to escape the war, although deplored the sacrifice of his comrades in arms, despite the sad life of trampling, but he still restrain the fighting to live their own boiling. Finally, he fell, in order to save a woman. He even got into Trojan for the sole purpose is to find and protect this woman. He has been killing one run in the looting of the city, anxious eyes, shouting grief. Thanks for the Memories at this time I return to a God of human nature.

Hector also is full of noble and mournful fate, and this is a kind of Western art in the main thread. Spanish playwright Wei Jia in the "Contemporary writers of the new art," one article said: "Tragedy is the royal and noble action." Hector in the film a tragic figure representatives. Promised to take his brother's behavior from the consequences of the beginning, he would have known city-states and their own destiny. Despite his contempt for his brother's cowardice, but as a brother, he assumed the guilt; in manslaughter A strategic Grand Adams's cousin, he calmly accepted the challenge to death. He let his soldiers to understand a man's dignity: to protect their honor, love their wives and children, to defend their own country. Be a simple man, at that time how difficult it is to dream!

1 Chongshang Wu forces in the world even the existence of such a two, shows appreciation of each other, hate hate war, death, but was admired warriors million people. They aspire to the tranquil peace and happy life, not only to meet the indivial, but also hope that the world has a wonderful time of prosperity. But they are always driven forward toward the battlefield, sword from the sword down, blood splashes, while the close fight for the honor of victory and the war seemed to see their faces. They used life, he composed a myth in the human tragedies of war.

⑺ 推薦幾個影評高的電影

電鋸驚魂系列
once
肖中克的救贖

⑻ 求電影《特洛伊》的影評。

三愛、三恨、神論與人性看完這部電影，我呆了。這是一部內容相當豐富的電影，包含了三種愛、三種恨、一種神論和一種人性的體現。一、三種神聖的愛：男女之愛，兄弟之愛，父子之愛。男女之愛：帕里斯雖然以前風流成性，可他對已為人妻的女子海倫卻投入了忠貞永恆的愛，甚至不惜為了她而引發戰爭，海倫同樣是一個敢為愛情，而不畏權勢的烈性女子。阿基里斯亦是如此，他對敵國的女祭司布利塞伊斯的愛也是無法阻擋了，當特洛伊淪陷時，阿基里斯不再追求名聲的千古流傳，而是在戰火中尋找年輕的布利塞伊斯，直至最後為愛而死，這是什麼？是愛的召喚。而布利塞伊斯也被阿基里斯這一強壯的有獨特魅力的男子所吸引，放棄了對神的敬仰，與阿基里斯雲雨中纏綿。特洛伊國王對自己次子帕里斯將敵國王後帶回本國時，並不是很生氣，而說「我一生為榮譽、權力、地位而戰，而我的孩子為愛情而將引起一場戰爭，值得啊！」，可見他對愛情的支持。兄弟之愛：長子赫克托對其弟弟帕里斯的愛，將其弟弟的風流視而不理，在那樣「女子是男人奴隸」的社會，無非流露出對弟弟的溺愛；還有當弟弟與敵國斯巴達國王米奈勞斯搏鬥失敗後，帕里斯抱住哥哥的腿，赫克托及時將弟弟送回國後，與敵奮戰，並大獲全勝，這表明弟弟對哥哥的依賴和哥哥對弟弟呵護，這種相互關系就是兄弟之愛。阿基里斯對堂弟手把手的傳授作戰技巧，並將道理與其，體現了兄弟之愛；當其堂弟被赫克托誤殺後，阿基斯里惱羞成怒，戴盔披甲，殺死了赫克托，為其弟報了仇，這也是愛的體現。父子之愛：特洛伊國王對次子帕里斯犯的嚴重錯誤給予理解，無非體現了對兒子的偉大父愛；他在長子赫克托被殺後半夜親自前往敵國要回長子赫克托的屍體，年老體衰的他，不為生命危險，這種舉動更是父愛使然。赫克托對自己尚嗷嗷待哺的兒子更是無限的關愛，當確信自己必死無疑時，他提前指給妻子一條暗道，讓其將兒子撫養大，便體現了他對兒子的愛。這種父子愛不但體現在上層階級之間，而且在普通士兵中也有所體現，一個很小的鏡頭——在特洛伊淪陷後，阿基里斯釋放的那個普通士兵說「我還有個兒子，放了我吧」，試想假如他沒有子女，一個有骨氣的士兵絕對不會乞求敵人給自己生路，也許因為父愛，他放棄了尊嚴。二、三種仇恨：對奪愛之人的仇恨，對侵略者的仇恨，對殺兄弟者的仇恨。對奪愛之人的仇恨：當自己的妻子被別人奪走後，斯巴達國王米奈勞斯一怒之下，決定吞掉敵國特洛伊，雖然說這種進攻與一個女人關系並不大，可卻是對奪愛之人的仇恨激發了戰爭的爆發。對奪愛之人的仇恨更體現了古代男子對女子的霸權和統治，一個男人的女人被另外一個男人搶走就是對自己尊嚴的一種極大的侮辱。對侵略者的仇恨：被侵略國人民對侵略者的仇恨是必然的，這種仇恨是戰爭的必然性。人們不希望戰爭，任何弱小且無野心的國王都希望自己子民安居樂業，特洛伊雖然並不算小國，但是其國王亦是如此，但這種仇恨積累的一定程度後就會爆發出不可抵擋的力量，有促成「以弱勝強」的可能，特洛伊與敵國的第二戰敵國被擊敗的情況大概就如此，雖然敵國戰略有所失誤。還有在特洛伊即將淪陷時，特洛伊國王帶領著剩餘的一小部分士兵仍然與敵奮戰，這也是仇恨的體現。對殺兄弟者的仇恨：阿基斯里里為堂弟復仇，就是對殺兄弟者的仇恨，更是對褻瀆親情的仇恨。還有帕里斯在特洛伊淪陷後不顧堂妹布利塞伊斯的阻攔仍然將箭射向了阿基斯里，這也是對殺兄弟者的仇恨，對次子帕里斯來說更是對殺死自己一直依賴者的人的極大仇恨。這三種愛和恨在整部影片交融在一起，愛淡化了恨，比如布利塞伊斯的愛改變了阿基斯里，使他的恨意減少了很多，愛心增加了很多。三、一種所謂的神的保佑，最終毀滅了特洛伊王國：長子赫克托不贊同乘勝追擊，而祭祀卻說「神有好的徵兆，可以乘勝追擊」，結果損失慘重；木馬在城外時，次子建議燒毀它，而祭祀卻說「這是神的賞賜，應該將其迎接到城內」。殊不知，特洛伊能夠在很多國家都被吞並後仍能獨立，是因為他的子民的勇敢和堅固的城牆，而非神的保佑。四、人性：阿基斯里雖為殺手，可他有自己的主張，例如雖然他對長子赫克托恨之入骨，可當特洛伊國王來取回其子的屍體時，在特洛伊國王的真情表白下，他還是歸還了其長子的屍體；當特洛伊淪陷時，如他對敵國一個男子士兵的饒恕也體現了這一點。殘酷中不失人性！也許這種人性的產生是男女之間神聖愛情的感化結果，也許是人深深埋在心底的共同人性

⑼ 後天的英語影評

the day after tomorrow will also name: What the weekend catastrophe" describes is decreases temperature suddenly suddenly take the US as within representative's Earth one day, enters the drift epoch the science fiction story. In story, climatologist Jake. Hall (Dennis. Quaid plays) after the observation prehistoric climatic study pointed out that the greenhouse effect brings the global warming will cause the Earth unprecedented disaster. Jake Dr. once warned that the government officials take the prevention action, but warned that obviously was too already late. Jake. Dr. Hall therefore informed urgently that American vice president announced latitude 30 N south of entire US populace as fast as possible evacuate to the equator direction, this north of populace must maintain warmth as far as possible. But in this time, Dr. Hall knows son Sam (Jake. The Gillen Holland decoration) goes to New York to rescue the girlfriend solitarily, therefore the decision take risks to go forward New York to launch the relief operations in the world of ice and snow. At this time the disaster starts from New York, the Manhattan skyscraper encounters the intense tornado the attack, big destroys. Suddenly, in the subway tunnel gushes out the turbulent flood which continues wild. The spate has swallowed New York, submerged the US, Europe has also not existed under the flood. Hereafter, the ice layer and the white snow covered the entire earth's surface, the drift epoch time started. When the lens return to the US once more, these return alive by luck the Americans flee to Mexico, requested that enters there refugee camp. End of the movie place American president can not but sigh the acknowledgment saying that he carries out the climate policy is a huge faulty stroke in handwriting. this was once writes down 400,000,000 box offices by "ID4 Interspace End matter" the names to lead Lolan. Amory wonderful brand-new does greatly. The entire piece will have the massive apex special effect, presents throws the day lid place the nature threat, and between the close interweaving fathers and sons and the men and women remember with eternal gratitude the moving emotion, great writer's utilization will leave behind the intense stimulation to the audience.what is worth mentioning was this piece has attacked the environmental protection policy which intensely The US government and President Bush carried out. Director Amory criticizes wonderfully to American president is relentless. He believed that the American people in the environmental protection aspect already walked in front of the government. What what a pity is 4 years ago Democratic Party's presidential candidate Gore defeats in Bush, otherwise Gore this has the greatly strengthened environmental protection thought person to lead US's words, this year's world on

採納哦

⑽ 我想要電影《Once》英文劇情簡介。在網上都找不到啊。

An unnamed, thirty-something Dublin busker (listed in the credits as "Guy", played by Glen Hansard) sings and plays guitar on Grafton Street, a Dublin shopping district. He struggles with the trials of performing on the street, including chasing after a heroin addict (Darren Healy) who attempts to steal his earnings. Lured by his music, an unnamed young Czech immigrant flower seller (listed in the credits as "Girl", played by Markéta Irglová) approaches him and, despite his annoyance, persists in questioning him about his songs. Delighted to learn that he also repairs vacuum cleaners in his father's shop, she insists that he fix her broken cleaner.

The next day she brings her Hoover by and parlays it into lunch together, whereupon she piques his interest by telling him that she is a musician, too. He asks to hear her play, so they visit a music store where she regularly plays piano. After teaching her one of his songs ("Falling Slowly"), which she quickly learns to play, they sing and play the song together, kindling a musical and potentially romantic connection. He invites her and her ailing vacuum back to his father's shop, and on the bus home musically answers her question as to what his songs are about: a long-time girlfriend who cheated on him, then left ("Broken Hearted Hoover Fixer Sucker Guy").

At the shop, he repairs her vacuum and she meets his father (Bill Hodnett), who seems indifferent to his son's musical talent. The Guy takes the Girl up to his room, but when he asks her to stay the night, she is insulted and leaves. The next day, he apologizes and they quickly patch things up, as over the course of a week they excitedly write, rehearse and record songs, and get to know each other. Songs continue to be performed in a real-world, diegetic fashion, often in their entirety, as when the Girl rehearses her lyrics for one of the Guy's songs (which she entitles "If You Want Me"), singing to herself while walking down the street, or when at a party, people perform impromptu (including "Gold", performed by a trio featuring guitarist Hansard singing harmony).

Their flirtation continues, but at the same time, he is thinking about and writing about ("Lies") his ex-girlfriend (Marcella Plunkett), who moved to London. The Girl encourages him to move there, win his girlfriend back and pursue his musical career. Invited home to dinner by the Girl to a house set in Mountjoy Square, the Guy discovers that she has a toddler (Kate Haugh) and lives with her mother (Danuse Ktrestova). He soon decides that it is time to move to London, but he wants to make a high-quality demo of his songs to take with him and asks the Girl to record it with him. She takes the lead as they secure a bank loan - from a bank where the loan officer (Sean Miller) is a musical hobbyist—and reserve time at a professional studio.

On a romantic motorbike jaunt aboard his father's 1966 6T Triumph Thunderbird, she reveals, much to his consternation, that she is married, though her estranged husband is back in the Czech Republic. When Guy asks if she still loves her husband, she answers in Czech, "Miluju tebe",[7] but coyly declines to translate what she said. In the Czech language it means "It is you I love." After recruiting a trio of musicians (Gerard Hendrick, Alaistair Foley, Hugh Walsh), they rehearse, then go into the studio to record. Their lack of experience shows, but they quickly impress the jaded studio engineer Eamon (Geoff Minogue) once they begin recording their first song ("When Your Mind's Made Up"). On a break in the wee hours of the morning, the Girl finds a piano in an empty studio and finally plays the Guy one of her own compositions ("The Hill"), which tells of romantic frustration. She breaks down before finishing the song and he responds by asking her to come with him to London, but is not prepared for the reality of her mother coming along to help with the baby.

Still, he is smitten. After the all-night session wraps up successfully, they walk home. Before they part ways, the Girl reveals that she spoke to her husband and he is coming to live with her in Dublin. The Guy asks her to spend his last night in Dublin with him; she says that it would only result in "hanky-panky", which is a "bad idea", but after the Guy's pestering she ultimately agrees to come over. In the end, she stands him up and he cannot find her to say goodbye before his flight. He plays the demo for his father, who, moved and impressed, gives him money to help him get settled in London. Before leaving for the airport, the Guy buys the Girl a piano and makes arrangements for its delivery, then calls his ex-girlfriend, who is happy about his imminent arrival. The Girl's husband (Senan Haugh) moves to Dublin and they reunite.