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英文影评《费城故事》

英文影评《费城故事》
英文影评《费城故事》

Film Review on Philadelphia

Philadelphia, directed by Jonathan Demme, featured by Tom Hanks and Danzel Washington, tells a story about a AIDS patients who has fired because suffering from AIDS fight for his right with legal. As the groundbreaking achievement in Hollywood's first look at AIDS discrimination, the movie is mainly about two sensitive topics: homosexuality and AIDS.

To analyze the contradictions in the story from the theory of Structuralism, there are two sets of conflicts: the endless case with Andrew’s former employer, and Andrew’s good fight against sickness.

The gay character, Andrew, a social outcast that facing to the death, is still fighting against the serious illness and the discrimination from the society all the way; The black lawyer, Miller, someone doesn't like homosexuals, agrees to take the case for sympathy. In the name of justice and humanity, in the spirit of compassion, Andrew and Miller tried to fight for legal right in a common action. They gradually become friends and come to understand one another during the quarrel. From Miller’s eyes, we can feel And rew’s love to life and live. There is a impressiveness scene in the movie: Listening to the inspiring music, Andrew put on a drip, described to Miller his hunger for affection, and his desire for life.

Life is not what you see in the films, it’s much harder. “Philadelphia” was made in 1993, In that time, people’s attitude to AIDS and homosexual are stern, rigid and unreasonable. Most people still feel a hearty dislike about homosexuality, much more a gay with AIDS. "Philadelphia" leads the trend of innovation to the AIDS discrimination. It gave hope to the many others who face this dilemma at some point or another in their lives. On the other hand, it also tries to turn our view to the AIDS.

For viewers of the movie, the meaningful question is not whether they sympathize with Tom Hanks' AIDS-afflicted, but whether that sympathy opens up a different perspective on the victims of the disease in the real world. We should ask several questions to our selves: Should the social outcast have the unfair treatment? What the Public opinions to AIDS? Will any sex orientation of the people be accepted by society? No matter what he is, he has the right to live on happily. That’s what I learn from “Philadelphia”.

when I see the light.

I know I'll be all right.

Philadelphia.

Journey to the Center of the Earth(地心游记)2008经典电影英文影评

Journey to the Center of the Earth(地心游记)2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1

最新《费城故事》观后感

《费城故事》观后感 《费城故事》讲述的是安德鲁不幸患上了艾滋病,被雇主设计陷害成文件丢失被解雇以后,他请律师上诉的故事。这是一部在1993年拍的电影,在现在看来,仍然有很强的现实的思考意义。就我们现在的社会,不消说其他,企业为了节约成本,在招工的过程中,歧视女性的例子比比皆是,更何况还是早二十多年人们对艾滋病患者的歧视呢? 安德鲁曾是一位很有前途的律师,他的老板对他赞赏有加,将很多大的案子交给他负责。有一天,人们发现他的脸上出现了一些异样,这和之前的一位患艾滋病的同事的症状很像,于是他的老板处心积虑,设计安德烈丢失文件,并以此为借口,让他辞职。 安德烈本身是一个律师,对法律自然有所了解,他知道自己被解雇的根本原因是因为艾滋病,想要用法律维护自己就业的权力,可是他请了很多律师,他们都不肯接这个案子。直到他遇到了乔,乔一开始听说艾滋病感到很恐惧,又很嫌弃安德烈是一个同性恋患者,拒绝为他辩护,但是当他的妻子谈起同性恋的事情以后,他开始改观。 直到乔和安德烈在一个图书馆遇到,安德烈查阅就业歧视的条款,

乔同意成为安德烈的辩护律师,并开始收集证据。安德烈患病以后,知道自己时日不多,但还是坚持出庭作证。让我们最为感动的是乔问安德烈,是什么促使你成为一位律师。安德烈说,能成为促进社会公正的一份子,我很光荣。 当乔问安德烈的雇主他以往的表现如何,他们避重就轻,说安德烈工作有很多失误之类的话题。乔问安德烈的雇主,他有没有替你赢过官司呢?雇主说,有。乔一次次为安德烈辩护的时候,我们能感知他内心深处对安德烈的遭遇感到同情和愤愤不平。 安德烈是一个同性恋,他曾在看电影的时候,和别人发生了关系,之后不幸得了艾滋病。乔想了解同性恋的生活,甚至参加了同性恋的派对。当他看到两个大男人一起跳舞,他感到了说不出的恶心,但还是忍住了。 乔帮安德烈辩护的案子成了街头巷尾的热门,有些人见到乔以后,有了很多挑逗言语,借此侮辱乔。乔不为周围的舆论所折服,始终站在安德烈的身边,这让他也很感动。安德烈的家人知道他的故事以后,没有因为艾滋病,就歧视他,相反始终站在他的身边,鼓励他,支持他。

最新《肖申克的救赎》影评(英文版)

The discussion on I think this movie is very meaningful. I like it very much. You must think so too. You must all have a lot to say. But according to what we have appointed, I’m the Chair, so please let me show you my opinion first. The story begins with the trial of a young banker, Andy Dufrense, victimized by circumstantial evidence, resulting in a conviction for the murder of his wife and her lover. After a quick conviction, Andy finds himself serving a life sentence at Shawshank prison, with no hope of parole. He exists in this prison only in appearance, keeping his mind free from the drab walls around him. His ability to do this results in the gaining of respect from his fellow inmates, but most of all from Ellis Redding. Ellis, commonly referred to as Red, finds gainful use of his entrepreneurial spirit within the drab walls of Shawshank by dealing in contraband and commodities rare to the confines of prison. Andy\'s demeanor and undeniable sense of hope causes Red to take a deeper look at himself, and the world around him. Andy proves to Red and the other inmates that in the conventional walls of Shawshank prison convention will find no home in his lifestyle. As far as I’m concerned, this movie shows us three things: freedom, friendship, and hope. If we take a movie as a novel, then

Seven(七宗罪)1995经典电影英文影评

Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1

英文影评《费城故事》

Film Review on Philadelphia Philadelphia, directed by Jonathan Demme, featured by Tom Hanks and Danzel Washington, tells a story about a AIDS patients who has fired because suffering from AIDS fight for his right with legal. As the groundbreaking achievement in Hollywood's first look at AIDS discrimination, the movie is mainly about two sensitive topics: homosexuality and AIDS. To analyze the contradictions in the story from the theory of Structuralism, there are two sets of conflicts: the endless case with Andrew’s former employer, and Andrew’s good fight against sickness. The gay character, Andrew, a social outcast that facing to the death, is still fighting against the serious illness and the discrimination from the society all the way; The black lawyer, Miller, someone doesn't like homosexuals, agrees to take the case for sympathy. In the name of justice and humanity, in the spirit of compassion, Andrew and Miller tried to fight for legal right in a common action. They gradually become friends and come to understand one another during the quarrel. From Miller’s eyes, we can feel And rew’s love to life and live. There is a impressiveness scene in the movie: Listening to the inspiring music, Andrew put on a drip, described to Miller his hunger for affection, and his desire for life. Life is not what you see in the films, it’s much harder. “Philadelphia” was made in 1993, In that time, people’s attitude to AIDS and homosexual are stern, rigid and unreasonable. Most people still feel a hearty dislike about homosexuality, much more a gay with AIDS. "Philadelphia" leads the trend of innovation to the AIDS discrimination. It gave hope to the many others who face this dilemma at some point or another in their lives. On the other hand, it also tries to turn our view to the AIDS. For viewers of the movie, the meaningful question is not whether they sympathize with Tom Hanks' AIDS-afflicted, but whether that sympathy opens up a different perspective on the victims of the disease in the real world. We should ask several questions to our selves: Should the social outcast have the unfair treatment? What the Public opinions to AIDS? Will any sex orientation of the people be accepted by society? No matter what he is, he has the right to live on happily. That’s what I learn from “Philadelphia”. when I see the light. I know I'll be all right. Philadelphia.

费城故事观后感5篇

《费城故事观后感》 费城故事观后感(一): 人的一生中最重要的到底是什么?是爱,是一分钟都不能缺少的感情和安慰。爱和感情像阳光和空气一样,让一个活着的人获得生命,获得成长的力量和勇气 题记 前几天看了一部想看很久的影片《费城故事》,先前就听说过它是讲关于同性恋方面的,但我对于此类类主题并不是大感兴趣,而真正地原因是在于其获得过奥斯卡大奖及其主演是汤姆。汉克斯,恰巧我又是喜欢看电影的人,所以便抽出空来去学校礼堂瞧了一瞧,因为这场电影是为了纪念世界艾滋病日而专门放映的,感兴趣的人不是很多,所以空位不少,随便挑了一张椅子坐下,可这一座,便是90分钟 主人公安德鲁是费城一位十分杰出的律师,他毕业于名牌大学,思维敏捷,精通法律,原本在事业上一帆风顺,可由于他同时是个同性恋,和其他同志一样,不时地出没于各种专属于同性恋者的场所,到那里去寻找只属于自我的快乐。但是十分可惜,他因此患上了艾滋病,我们都明白,这是一种致命的病毒,死亡率很高,而在主人公生活的年代,因为自身的某种不良行径而患上这种病则还有另一层含义:你将被社会所抛弃。因此当他的上司从他脸上的伤疤明白他患有艾滋病之后,便使用诡计将他开除出了公司,安德鲁当晚明白他被开除的真正原因,能够预见其当时的绝望情绪,但他并不服输,随后在走访了9家律师事务所都没能如愿找到帮他打这起非法解雇员工案子的律师之后,他踏进了乔(我们的男二号)的事务所。但是同其他多数人一样,乔对于艾滋病(尤其是因为同性恋引起的)一开始也是十分反感。他看不起同性恋者,认为他们是社会的异类,是不洁身自好的臭虫,并不肯为其打这场官司。于是安德鲁只好绝望的离开,但是当镜头长时光地给到其出门后在大街上好似四处寻觅的双眼时,我开始意识到我错了,他的眼睛里闪现的并不是绝望,而是坚韧,是期望。 影片到此已经是很吊观众的胃口了,观众急于想明白主人公将怎样处理这一绝境的,不出意料,安德鲁的确是个不肯轻言放下的人,他只身坐在图书馆中查阅有关保障同性恋权益的法律条文,或许在他心中始终有一个不变的信念:我与其他人一样,没有任何的不一样。另外,我想影片之所以把背景设置成为费城《独立宣言》的签署之地,就应是有意为之的,而主人公恰是一位律师美国司法界的一员,更是有想对美国司法界说点什么的意思。 事实上这起案件重点并不是经理对员工的解雇是否非法,而在于他的上司是因为对艾滋病患者的歧视才将其解雇。真正令我感动的也并不是艾滋病患者的权益最终被保护,而是主人公最后真的能够说一声Imready。他深知自我也许活不到庭审结束就会死亡,但是他依然不屑的努力,去争取自我的尊严,这种信念与坚持,正式打动我最深的地方。影片并没有将笔墨过多的放在主人公的个人情感上,也没有过多的描述如何去打赢这场官司获得赔偿,相反地,这些情节仅仅是一笔带过,重点是突出了安德鲁之所以能坐下去的原因。 那么安德鲁的信念来自何处呢?回答很简单:爱。并不仅仅仅来自于他的伴侣,更来自于他的家人,他的父母、兄弟姐妹 没有他们的支持与鼓励,安德鲁就不会有勇气走到法庭上,去追求自身的权益。爱是这部电影的主题,也是导演想要将他融会到社会问题中去的原因,艾滋病不可怕,可怕的是患病后被人抛弃,失去爱的感觉。当世人对你不予理睬,当你失去了工作,当你被人误解时,来自家

肖申克的救赎 观后感、影评

肖申克的救赎观后感、影评.txt生活,是用来经营的,而不是用来计较的。感情,是用来维系的,而不是用来考验的。爱人,是用来疼爱的,而不是用来伤害的。金钱,是用来享受的,而不是用来衡量的。谎言,是用来击破的,而不是用来装饰的。信任,是用来沉淀的,而不是用来挑战的。剧情简介: 影片从1946年讲起,缅因州一位银行家安迪喝得醉醺醺地上了自己的车,还把手枪里装了子弹,接着有他妻子与人私通的画面,再下来他就被判刑入狱,成了肖申克监狱的重罪犯。 在狱中,他与黑人囚犯雷德互相帮助,成为好朋友;而以博格斯为首的一群囚犯却经常袭击安迪。后来,狱警们发现了安迪的理财能力,都来找他做投资咨询,甚至孩子升学问题也来找他请教。监狱长让他做假帐,从中渔利。 多年过去,有一天,安迪郑重地对雷德说:如果你出狱,一定到某地一棵树下把一个盒子挖出来。当天夜晚,安迪越狱。雷德获释后照安迪的话做,两个朋友在墨西哥海滨重逢了。 <肖申克的救赎>对谁的救赎 《旧约.以赛亚书》中说道:“锡安必因公平得蒙救赎,其中归正的人必因公义得蒙救赎。但悖逆的和犯罪的必一同败亡;离弃耶和华的必致消亡。”据说这里就是“救赎”一词的起源。据粗略统计,在整部《以赛亚书》中,这个词一共出现了16次之多。很明显,它象征着基督思想的实践,具有非常重要的意义。以至于到了宗教时代,“救赎”因其明确的指向性而一度成为了左右西方精神世界的关键词。既然如此,那我们可以得出如下的结论:即“救赎”产生于特定的人群(基督徒)和特定的年代(宗教年代),而随着20世纪以来西方社会中信仰的缺失,人本主义代替了神本主义,这个词似乎也将不复流行。 然而,在二十世纪九十年代,着名导演弗兰克.德拉邦特从斯蒂芬.金的《春天的四个故事》中看似无意地提取出了这个银行家的故事。随后,一部伟大的电影诞生了。这部电影的名字叫《肖申克的救赎》,一个信仰缺失的年代里关于救赎的故事。 那么,在这部影片里,德拉邦特想要表现的是谁对谁的救赎呢? 没有任何辩驳的自由,巧舌如簧的检察长把安迪的生命交给了肖申克漫长的岁月。被冤枉的银行家不会甘于命运,然而肖申克并非福地,第一天晚上就有人被活活打死了。“把信仰交给上帝,把身体交给我。”监狱长的训词非常露骨,他的意思无非是“在这里,你们没有自由,必须无条件地做任何事,不要有什么不切实际的幻想,那是属于上帝的”,于是,一场关于尊严和人性的斗争就此开场,不过在这场斗争中2,救赎主不是上帝。 救赎主是两个字:希望。被救赎的也是两个字:自由。 或许这篇文章的读者会认为我太过抽象化了,但是当你在头脑里从头至尾一而再、再而三地不断闪回那些片段的时候,你会轻而易举地理解我这么说的缘由的。 希望,是整部影片的主题。 在安迪来肖申克之前,监狱里的话题除了变态、打架就是无所事事地消磨时间,混乱、肮脏、恐惧、绝望共同织就了这里恶劣的环境,犯人没有任何人权可言,为监狱长无偿出卖他们的廉价劳动力。在安迪入狱之后,这个不甘现状的银行家尽管依然无力改变犯人受压迫受

Tess(苔丝)1979经典电影英文影评

Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1

费城故事观后感

费城故事观后感 公司内部编号:(GOOD-TMMT-MMUT-UUPTY-UUYY-DTTI-

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