电影教父的观后感 要英文的 1000字左右不要在线翻
编辑： admin 2017-03-03
-
4
User Comments (Comment on this title)
70 out of 112 people found the following comment useful:-
Initially, I wasn't a fan... but then I realised, 14 October 2006
Author: mattrochman from Australia
This is a masterpiece. A timeless masterpiece. Initially, I didn't like this film all that much - I found it rather over-hyped and boring. This was until the advent of DVD, which gave me the feature I needed for this sort of film: subtitles. Once I switched them on and heard (read) every last word of Brando's ramblings and other characters ramblings, I grew a true appreciation for this epic.
To make a true epic, you need all of three following ingredients working in near perfect harmony. For screenwriters who come across this, take the following pointers on board: 1) Contrasting Characters: Good films have some character distinction, but most fall rather flat because the core of each character is the same.
Of course, there are exceptions to rule (ie... where you want mono-tonal characters... aka matrix; or where you want outlandish contrasts... aka The Fifth Element), but ultimately, this is what makes films deep, meaningful and grand. Consider the contrasts between the Don's children. Michael is rather cool, rational and collected, whereas Sonny is more hot-headed, spontaneous and simple minded. But simply having these contrasts is not nearly enough. What you really need to do is to develop these characters - place them in situations - and then dwell on how their character impacts on the situation they're put in. The Godfather is a terrific example of how to pull this off. While many try to do this in screenplays, most lose the plot and create character obscurities that stretch credibility.
2) Transformation: The central character(s) must undergo a transformation, resulting in them being almost unrecognizable by the end of the film. By putting them into situations, the character's character must not only influence the outcome of the situation; it must also have a lasting impact on the character. Consider Michael at the wedding and compare that to the Michael we see at the end of the film. Again, many films try, but most fail because they come up with unreal (literally, not praisingly) or simply moronic transformations (eg, Wall Street).
3) Patience: Men in Black 2 was an astounding film for one simple reason - it was an entire film squashed into about 70 minutes. It was not much longer than an episode of ER or Buffy. I certainly hope the new goal of Hollywood isn't to make films as short as possible.
All the great ones spend time - time developing characters, family life, growth, patience with the story telling in general. This is the key (provided that the story isn't mind-numbingly boring). Dances with Wolves, Heat.. and so on are very patient but top-class films. While studios may be lukewarm on the idea of longer films, they are worth it if you have a ripper story to base it on.
I feel that this film has not dated all that much and has tremendous re-watch-ability.
类似问题
类似问题1：急求《教父》的英文影评.最好是美国著名评论报纸或著名影评家的.正面反面的评论都要一些.每个评论两三句话就行.做PPT用的.
The New York Times | Vincent Canby
One of the most brutal and moving chronicles of American life ever designed within the limits of popular entertainment.[16 Mar 1972]
Washington Post | Desson Thomson
A great American picture,full of incredible images and lasting moments.
LA Weekly | F.X.Feeney
The Godfather traces the arc of this doomed idealism with a beauty that is still fresh.
Chicago Reader | Dave Kehr
Sharp,entertaining,and convincing--discursive,but with a sense of structure and control that Coppola hasn't achieved since.
Los Angeles Times | Kenneth Turan
Overflowing with life,rich with all the grand emotions and vital juices of existence,up to and including blood.And its deaths,like that of Hotspur in "Henry IV,Part I," continue to shock no matter how often we've watched them coming.[16 Mar 1997,Calendar,p.7]
Chicago Tribune | Michael Wilmington
Brando made Don Vito something we rarely see in movies:a tragicomic villain-hero,a vulnerable hood.The don is so close to a comic character -- the movie itself is so close to comedy -- that Brando's capacity to move us in the role is doubly impressive.At the end,it is the older Godfather's tenderness and sagacity we recall.[21 Mar 1997,Friday,p.A]
San Francisco Examiner | Barbara Shulgasser
A handbook on cinematic lucidity.All events are described clearly.Motives of all the characters are set right there on the table next to the pasta for our consideration.
TV Guide | Staff (Non Credited)
The Godfather is a generational saga; it's also an action film; but above all,it catches the imagination of audiences because it suggests that the career of a gangster is not so very different from the career of a businessman or a politician.
Film Threat | Ron Wells
One warning however:James Caan's shoulder hair,when seen on this size screen,may frighten children considerably (you'll at least want to discuss it openly after the show,answering any questions your kids may have in an honest and direct manner).
Austin Chronicle | Marjorie Baumgarten
Just about as great as a movie's ever gonna be...As for the storytellng,The Godfather is an intricately constructed gem that simultaneously kicks ass.
ReelViews | James Berardinelli
The picture is a series of mini-climaxes,all building to the devastating,definitive conclusion...It was carefully and painstakingly crafted.Every major character - and more than a few minor ones - is molded into a distinct,complex individual.
Chicago Sun-Times | Roger Ebert
The wedding sequence...is a virtuoso stretch of filmmaking:Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather's world.
San Francisco Chronicle | Edward Guthmann
In scene after scene -- the long wedding sequence,John Marley's bloody discovery in his bed,Pacino nervously smoothing down his hair before a restaurant massacre,the godfather's collapse in a garden -- Coppola crafted an enduring,undisputed masterpiece.[21 Mar 1997,Daily Datebook,p.C3]
Variety | Staff (Not Credited)
Overlong at about 175 minutes (played without intermission),and occasionally confusing.While never so placid as to be boring,it is never so gripping as be superior screen drama.
类似问题2：名著读后感,或英语电影影评,1000字以上,要英文的,三篇……谢谢[英语科目]
你不给我加分,怎么对得起我!
英文影评:千与千寻(Spirited Away)
Animated feature from Japanese master Hayao Miyazaki. A young girl finds herself trapped in a mystical realm, where she must find a way to save her parents - who have been turned into pigs
There's something almost criminal about the way Spirited Away took over two years to reach Britain after its original Japanese release. In Japan, Hayao Miyazaki is both commercially successful (his films regularly beat box office records) and highly respected (Akira Kurosawa said: "I am somewhat disturbed when critics lump our works together. One cannot mimimise the importance of Miyazaki's work by comparing it to mine."). In Britain, however, his work has barely got more than a few cursory arts venue screenings. At least Spirited Away - which took the Berlin Golden Bear in 2002 and the Best Animated Film Oscar in 2003 - made it. Better late than never.
After the stress of making his last film, 1997's Princess Mononoke, Miyazaki had a breakdown and retired. But he came out of retirement when an idea to create another, lighter film began to take shape. Princess Mononoke was an action-packed epic that ranged across 15th century Japan. For Spirited Away he returned to the quieter - but no less serious - themes that he addressed to a degree in 1988's My Neighbor Tortoro. Both films feature a family moving house, girls getting used to upheaval, and elements of 'Alice In Wonderland'. But where the 1988 film used a few specific motifs from Carroll's book (a plunge into a 'rabbit hole', a version of the Cheshire cat), Spirited Away casts its 10-year-old protagonist, Chihiro (Hîragi; or Chase in the US dub), fully into a Wonderland, a mystical otherworld populated by animal spirits and gods. Chihiro arrives in this realm by accident. Her parents, heading for their new home, take a road that leads into the woods. Arriving at a dead end, they walk down a corridor through a building and emerge in what dad takes to be "an abandoned theme park". It's something like a Japanese Portmeirion, but eerily deserted. While her parents greedily help themselves to food, Chihiro wanders off and meets Haku (Irino; or Marsden), a boy who warns her to leave before dark. She's too late though - a lake has appeared, blocking her route, ghostly forms have populated the town and her parents have turned into pigs. She's trapped.
The only way to survive, Haku tells her, is to get work in the bath house that dominates the town. Here "eight million gods rest their weary bones", according to Yubaba (Natsuki; or Pleshette), the witch who runs the establishment. Chihiro makes her way to meet Yubaba with the help of Kamajii (Sugawara; Ogden Stiers), a multi-limbed codger who runs the boiler house, Lin (Tamai; Egan), a serving woman with a taste for "roasted newt", and even a 'Radish God', a giant sumo of a chap with tuber-like appendages. Yubaba is hardly forthcoming - her realm is "no place for humans" - but she's forced to give Chihiro work, thanks to an oath she swore. Chihiro gets work helping Lin. But the management give them the worst jobs - such as assisting a hideous oozing creature they take to be a "Stink God; an extra large stinker at that". It's an entity so foul its smell makes food rot instantaneously, while its suppurations fill the room with a noxious gloop.
Chihiro - or Sen as she becomes when Yubaba takes her name as part of her contract - does get by in the bath house, but it's not without further incident. She may lose her identity, but she retains her decency. One act of kindness results in a dangerous spirit, No Face, getting into the bath house and wreaking havoc by playing on the greed of the other employees ("Gold springs from his palms!"). She even gets involved in an adventure that reveals her mysterious bond with Haku. But can she save her parents? It's often said that Katsuhiro Otomo's Akira (1988) is the greatest anime ever. That's as maybe, but every one of Miyazaki's films is a masterpiece, so it's hard to pick just one that stands out. It's also tricky to compare his works with the more traditionally received notion of anime (giant robots, demons with phallic tentacles, telekinetic fighting, atom bomb-style explosions etc).
Although Miyazaki insists it's not his role to be didactic, all of his work (notably his second feature Nausicaa Of The Valley Of The Wind and Princess Mononoke) has strong messages about ecology and the human relationship with the natural world. But he's also fascinated with coming-of-age stories, notably about how girls (many of his protagonists are young females) can not only face up to adult responsibility, but also how they can become strong, principled members of society. Here Chihiro is forced to grow up fast, but the process, while gruelling, is not without real benefits, as her understanding of the way society functions and experience of adult emotions develops exponentially.
Some aspects of the film are likely to be too foreign for Westerners - we're ignorant of Japanese belief systems, with their hierarchies of entities - but Miyazaki's work has the power to transcend such culturally specific elements. While many of his earlier films drew on European stories (such as 1986's Castle In The Sky, from Swift), the folkloric features he reworks are often universal. But most of all, his team's animation - here utilising more digital techniques, while still being grounded in 2D traditions - is always beautiful and, in places, breathtaking. Locations are atmospheric, details are immaculate (you can identify the flower species in the gardens) and characters are diverse. Yubaba, for example, is a bizarre creation, a stocky woman with a huge head and even bigger hairdo; the bath house itself is stocked with all sorts of weird and wonderful creatures, from a Kermit-like assistant, to creatures reminiscent of his cuddly woodland deity from My Neighbor Tortoro, to troll-like beasts that look related to Maurice Sendak's 'Wild Things'). The only factor that could be seen as mildly misjudged is Jô Hisaishi's score, which is overbearing in places.
It's no wonder the likes of Pixar's John Lasseter (who executive produced the US dub) are so full of praise for Miyazaki. He's a true genius, an artist and great filmmaker who happens to work in animation - a medium often belittled as childish in the West. Spirited Away is wonderful.
蜜蜂总动员 Bee Movie review by Roger Ebert
From each according to his ability, to each according to his need.
-- Karl Marx
Applied with strict rigor, that's how bee society works in Jerry Seinfeld's "Bee Movie" and apparently in real life. Doesn't seem like much fun. You are born, grow a little, attend school for three days, and then go to work for the rest of your life. "Are you going to work us to death?" a young bee asks during a briefing. "We certainly hope so!" says the smiling lecturer, to appreciative chuckles all around.
One bee, however, is not so thrilled with the system. His name is Barry B. Benson, and he is voiced by Seinfeld as a rebel who wants to experience the world before settling down to a lifetime job as, for example, a Crud Remover. He sneaks into a formation of ace pollinators, flies out of the hive, has a dizzying flight through Central Park, and ends up (never mind how) making a friend of a human named Vanessa (voice of Renee Zellweger). Then their relationship blossoms into something more, although not very much more, given the physical differences. Compared to them, a Chihuahua and a Great Dane would have it easy.
This friendship is against all the rules. Bees are forbidden to speak to humans. And humans tend to swat bees (there's a good laugh when Barry explains how a friend was offed by a rolled-up copy of French Vogue). What Barry mostly discovers from human society is, gasp!, that humans rob the bees of all their honey and eat it. He and Adam, his best pal (Matthew Broderick), even visit a bee farm, which looks like forced labor of the worst sort. Their instant analysis of the human-bee economic relationship is pure Marxism, if only they knew it.
Barry and Adam end up bringing a lawsuit against the human race for its exploitation of all bees everywhere, and this court case (with a judge voiced by Oprah Winfrey) is enlivened by the rotund, syrupy voiced Layton T. Montgomery (John Goodman), attorney for the human race, who talks like a cross between Fred Thompson and Foghorn Leghorn. If the bees win their case, Montgomery jokes, he'd have to negotiate with silkworms for the stuff that holds up his britches.
All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off. We learn at the outset of the movie that bees theoretically cannot fly. Unfortunately, in the movie, that applies only to the screenplay. It is really, really, really hard to care much about a platonic romantic relationship between Renee Zellweger and a bee, although if anyone could pull if off, she could.
Barry and Adam come across as earnest, articulate young bees who pursue logic into the realm of the bizarre, as sometimes happened on the "Seinfeld" show. Most of the humor is verbal, and tends toward the gently ironic rather than the hilarious. Chris Rock scores best, as a mosquito named Mooseblood, but his biggest laugh comes from a recycled lawyer joke.
In the tradition of many recent animated films, several famous people turn up playing themselves, including Sting (how did he earn that name?) and Ray Liotta, who is called as a witness because his brand of Ray Liotta Honey profiteers from the labors of bees.
Liotta's character and voice work are actually kind of inspired, leaving me to regret the absence of B.B. King, Burt's Bees, Johnny B. Goode, and the evil Canadian bee slavemaster Norman Jewison, who -- oh, I forgot, he exploits maple trees.
贫民富翁(Slumdog Millionaire)
An orphaned Mumbai slum kid tries to change his life by winning TV's 'Who Wants To Be A Millionaire?' in a feelgood fable from director Danny Boyle and the writer of The Full Monty, Simon Beaufoy
Jamal Malik ('Skins' star Dev Patel) is being beaten by Mumbai police for allegedly cheating on hit TV show 'Who Wants To Be A Millionaire?' One question away from the ultimate 20 million rupee prize, no one, including slick show host Prem (Anil Kapoor), believes a chai wallah (teaboy) like Jamal could know all the answers. As the tough inspector (Irfan Khan) replays Jamal's appearance on the show, it's revealed that each question corresponds to a specific life lesson from Jamal's tragic past.
Raised in abject poverty in Mumbai's grimmest slum along with older brother Salim, then orphaned by a Hindu mob attack, Jamal and Salim are forced to fend for themselves on the streets through opportunistic petty crime. They pick up a young girl, fellow orphan Latika (Freida Pinto), escape the clutches of a vicious Fagin-like crime boss, lose Latika, and continue their picaresque adventures, one step ahead of the law. As adolescents, however, Salim becomes entranced by a life of crime and Latika's unexpected return sets brother against brother. Will Jamal salvage his girl, his fortune and his life on 'Millionaire'?
Adapted by Full Monty writer Simon Beaufoy from Vikas Swarup's hit novel 'Q&A', Slumdog is an underdog tale. Beaufoy's lively screenplay scampers after Swarup's self-consciously Dickensian storytelling tradition, and is even built around the 'Millionaire' show, as iconic a symbol of Western capitalist entertainment as exists.
Director Danny Boyle and cinematographer Anthony Dod Mantle have evidently immersed themselves in India's sensory overload. The film revels in the sub-continent's chaotic beauty and raging colours, from Mumbai shantytowns to Agra's regal Taj Mahal. The thrillingly off-the-cuff digital imagery reflects a nation in a state of explosive flux, looming skyscrapers erupting from wasteland, slum kids turning into overnight millionaires through the kiss of television. The film's uniquely vibrant, headlong 21st century rush is that of the infinite possibilities of modern India itself.
Slumdog's such a crowd-pleaser that some critics might brand it Boyle's best since Trainspotting . It even echoes a couple of that film's classic set pieces, notably a slum chase reminiscent of Renton and Co's opening Edinburgh dash and a lavatorial incident so stomach-churning (yet hilarious), it makes Trainspotting's infamous toilet scene seem like Ewan McGregor took an Evian bath.
In fact, the likable Boyle has been on great form for some time - 28 Days Later revamped the zombie movie, Millions is perhaps the best kids film of recent years. No other current British director makes such thrillingly current (all his films are set in either the present or future), kinetic, inherently visual films and proper recognition is long overdue - though, true to form, he's insistent here on crediting co-director Loveleen Tandan, whose major contribution seems to have been unearthing the wonderfully naturalistic kids to play Jamal, Salim and Latika.
Verdict
A spirited underdog fable marinated in modern India's melting pot. Danny Boyle's still the master of spices.
类似问题3：英语电影 观后感 1000字英文 要最近的新电影[英语科目]
最好自己写.一般先简要介绍一下电影内容,然后就剧情、导演、演员、摄影、音乐等某一方面进行分析评论,最后总结一下.
给你提供几篇英文影评供参考：
类似问题4：教父的读后感英文请问一下你又教父的英文读后感和简介吗?[英语科目]
"The Godfather" is a gangster capitalist society about the entire U.S. ground force systems dominate the control group the story of ups and downs in the story, is very vivid characterization. Kao Liang hero and his son Michael foresight resilient, ultimately get rid of their mortal enemy of the family business to reach their peak, even though I disagree with their established set of so-called "underground order," but out on the characterization of the novel heart of the Kao Liang respect to his ground forces led by Kao Liang Group is mainly engaged in smuggling of imported olive oil from Italy, opening casinos and so on. His influence throughout the U.S. East and West throughout the crucial point in the various government departments have him. He resourceful and eager to protect and support the people reverently dubbed him "godfather." He is also responsive to the following, what it says, to win the people's fear. Any thing, as long as he would secretly or openly a hand in the development and changes in accordance with his will. He is a true all-powerful figure in American society. In particular his position and his humility, combined with his attitude of doing things that really awesome cool. Is what he had done to his family business success. Another novel depicts the hero Michael inherited his father's right, he has amazing self-confidence, believe that their choice is the best, I believe that even if he is lying should be, and it is correct, so that people can hide themselves well evil, even if he were to die bad, people still admire him, and still think he is one of the best, he will not do evil things! Even Michael's wife did not believe he would kill, but he did kill, and with his father's carefully cultivated is certainly not live up. In our real life really is the most powerful and such a terrible person, with indomitable fighting spirit, a deep reservoir of hatred in their hearts, waiting for a suitable time to carry out long-planned program. Bear with the situation that only people can do great things, the novel his first wife for his death, even though he knows enemy's hiding place, and the ability to kill him, but he always wait until the last of the large-scale attack on the time. He and his father are "good" men, at least in the kind of environment they are. A lot of information that "" The Godfather "is a nature of American society, capitalist society, no fat, to avoid exposing the underground activities of work," I do not know the author of the novel there is no such meaning, at least I have not personally see his own evaluation of the novel is so, is not that they do not know the meaning out of nothing on the Flurry of a pass, even if the meaning of this true, that such a phenomenon reflected in the story in today's China, there is no thing in it? Our country is not capitalist ah, the jungle, and certainly there. We all have to see the mainstream! Reading this novel made me realize that "no matter what kind of society can survive in the competition who is strong, this world has no absolute good or bad, in different societies exist only two kinds of people is a good man in his own eyes, the eyes of the enemy is bad, because it had different interests, and conflict of interest, these things not only exist in a capitalist country, in any society there will be. " 【译文】 《教父》是一个讲述资本主义社会中黑帮人物对整个美国地下势力集团体系的独霸控制的故事,故事情节波澜起伏,人物刻画也十分生动. 主人公考利昂和他的儿子迈克尔高瞻远瞩能屈能伸,最终除掉了他们的死敌使他们的家族事业达到顶峰,虽然我不赞同他们所确立的那套所谓的“地下次序”,但对作者刻画出来的小说里的考利昂心怀敬仰,以他为首的考利昂地下势力集团主要经营的是从意大利走私进口橄榄油、开设赌场等等.他的势力遍及美国东西南北各地,在政府各个要害部门也都有他的人.他神通广大,渴求保护和支持的人们虔诚地尊称他为“教父”.他对下面也有求必应,说话算数,从而赢得了人们的敬畏.随便什么事,只要他暗地或公开一插手就会按照他的意志发展变化.他是美国社会真正叱咤风云的人物.特别是他所处的地位和他的谦卑,再加上他那种冷静处事的态度真令人生畏.也正是他所做的一切成就了他的家族事业. 小说刻画的另一个主人公迈克尔继承他父亲的权利,他有惊人的自信,相信自己的选择是最好的,相信即使自己撒谎也是应该的,也是正确的,所以这种人能够很好的掩藏自己的罪恶,即使他坏得不行了,别人依旧敬佩他,依旧觉得他是个世上最好的人,他不会做邪恶的事!就连迈克尔的爱人都不相信他会杀人,但是他确实杀人了,加上他父亲的精心栽培肯定是不负重望.在我们的现实生活中真正最厉害和可怕的也是这样一种人,有着顽强的斗志,把仇恨深深的藏的心底,等待着一个合适的时机进行蓄谋已久的计划.那种忍辱负重也只有成就大事的人才能够做得到,小说中他的第一任妻子为他而死,尽管他知道仇人的藏身之处,也有能力杀掉他,但他始终等到了最后的大举进攻之时.他和他的父亲都是“优秀”的男人,至少在那种环境中他们是. 很多资料说“《教父》是一部反映美国社会的本质,揭露资本主义社会无发避免的地下党活动的著作”,我不知道这部小说的作者有没有这个意思,至少目前我还没有亲眼所见他本人对小说是这样评价的,也不知道是不是他们无中生有对作者的意思乱舞一通,就算作者真有这样的意思,那这样一个故事所反映的现象在我们今天的中国就没有嘛吗?我们国家可不是资本主义国家啊,弱肉强食肯定也是存在的.我们都必须得看清主流! 读了这部小说使我认识到“不管在一个什么样的社会中能够在竞争生存下去的人就是强者,世间也没有绝对的好坏之分,在不同的社会中只存在两种人,自己在自己眼里就是好人,在敌人眼里就是坏人,因为有着不同的利益,和利益的冲突,这些东西不光是在资本主义国家存在,在任何一个社会中都会有的.”
类似问题5：求呼啸山庄英文读后感一千字[英语科目]
I spent twenty days reading this book.After reading this book,I felt for Heathcliff at first.Heathcliff begins his life as a homeless orphan on the streets of Liverpool,and then he tyrannized by Hindley Earnshaw.But he becomes a villain when he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman.His malevolence proves so great and long—lasting.As he himself points out,his abuse of Isabella—his wife is purely sadistic,as he amuses himself by seeing how much abuse she can take and still come cringing back for more.
Catherine represents wild nature,in both her high,lively spirits and her occasional cruelty.She loves Heathcliff so intensely that she claims they are the same person.However,her actions are driven in part by her social ambitions,which initially are awakened during her first stay at the Lintons,and which eventually compel her to marry Edgar.Catherine is free—spirited,beautiful,spoiled,and often arrogant,she is given to fits of temper,and she is torn between her both of the men who love her.The location of her coffin symbolizes the conflict that tears apart her short life.She is buried in a corner of the Kirkyard.In contrast to Catherine,Isabella Linton—Catherine’s sister—in—law represents culture and civilization,both in her refinement and in her weakness.Ultimately,she ruins her life by falling in love with Heathcliff.He never returns her feelings and treats her as a meretool in his quest for revenge on the Linton family.
Just as Isabella Linton serves as Catherine’s foil,Edgar Linton serves as Heathcliff’s.Edgar grows into a tender,constant,but cowardly man.He is almost the ideal gentleman.However,this full assortment of gentlemanly characteristics,along with his civilized virtues,proves useless in Edgar’s clashes with his foil.He sees his wife obviously in love with another man but unable to do anything to rectify the situation.Heathcliff,who gains power over his wife,sister ,and daughter.
The whole story make people’s mood heavy.Fortunately,the end is happy.
The author Emily Bronte lived an eccentric,closely guarded life.She was born in 1818,two years after Charlotte—the author of Jane Eyre and a year and a half before her sister Anne,who also became an author.Her father worked as a church rector,and her aunt,who raised the Bronte children after their mother died,was deeply religious.Emily Bronte did not take to her aunt’s Christian fervor,the character of Joseph,a caricature of an evangelical,may have been inspired by her aunt’s religiosity.The Brontes lived in Haworth,a Yorkshire village in the midst of the moors.These wild,desolate expanses—later the setting of Wuthering Heights—made up the Brontes daily environment,and Emily lived among them her entire life.She died in 1848,at the age of thirty.