⑴ 卓別林的作文用英文寫短一點的40個字左右
Charlie Chaplin was born on April 16, 1889 in London. Her father was an entertainer and although not one of the big names, he was doing very well. Her mother Hannah was also an entertainer. A wonderful mimic, she had a sweet, charming voice. While they were by no means[1] rich, the music hall provided the Chaplins with a comfortabl
e living.
Unfortunately happy life didn't last long. Father's alcoholism was slowly, but surely destroying his marriage. Finally it ended in divorce, but Hannah was indomitable[2]. Without her, Charlie Chaplin would have become just one more child lost in the poverty of Victorian London. Somehow she not only managed to keep Charlie and his brother Syney clean and warm, clothed and fed but she conjured[3] little treats for them. She would sit at the window watching the passersby and guess at their characters from the way they looked and behaved, spinning tales to delight Charlie and Syney. Charlie took in her skills and went on using them all his life.
Charlie had always believed, even in the worst times, that had something special locked away inside him. He took his courage and went to see one of the top theatrical agents. With no experience at all, he was being offered the plum part[4] of Billy-- the pageboy in a new proction of "Sherlock Holmes". "Sherlock Holmes" opened on July 27, 1903 at the enormous "Pavilion Theatre" Charlie seemed to change overnight. It was as if he had found the thing he was meant to do.
It was, by now, 1908, Charlie was nineteen and he fell in love. Hetty Kelly was only fifteen. But her parents quashed[5] the the romance before it really begun-- but the memory of pretty Hetty stayed with Charlie all his life.
In 1910, when Karno set off on his yearly American tour, "One of the best pantomime[6] artists ever seen here." They had reached Philadelphia when a telegram arrived and he was being offered the chance to replace a star in the Keystone film company.
Cinema was born in the same year as Charlie thought people still believed it was a passing fad, and would never replace live shows. He was kept hanging about[7] for several weeks and he used the time to watch and to learn. He was determined to master this new medium. It offered him the chance of money and success -- and it would set him free from the unpredictability of live audience.
Charlie's first film, released in February 1914, was called "Making a living". Though it didn't satisfy Charlie, the public liked it. After that he had made ten films and he had learned a lot. The public loved him and distributors were demanding more and more Chaplin films. In an incredibly short time, Charlie had become a very important man in motion picture...
1889年4月16日查理·卓別林出生於倫敦.他父親是一個演員,
雖然不是什麼大人物,但也表現不俗.他母親哈那是一位出色的喜劇演員,嗓音甜美動人.雖然談不上富裕,可戲院的工作畢竟能使卓別林一家過上安逸的生活.
然而,幸福的生活並不長久,父親對酒的嗜好緩慢地、但卻毫無疑問地破壞著他的婚姻生活.這樁婚姻最終以離婚而宣告結束,但哈娜是不會輕易認輸的.沒有母親,查理·卓別林充其量也只是維多利亞時期倫敦城裡又一位窮困潦倒的兒童.她不僅想方設法讓查理和弟弟西尼吃飽穿暖,保持干凈整潔,而且動足腦筋變換方法,讓他們過得歡樂愉快.她有時站在窗邊,注視行人,通過行人的外表和舉止猜測他們的性格,繼而仿造故事,逗查理和西尼樂.查理繼承了母親的這點,而這也正是他一生用之不盡的財富.
即便在處境最為艱難的時刻,查理也始終堅信自己蘊藏著特殊的才能.他鼓足勇氣,前往倫敦一家高級的戲院經理商應聘.竟獲得新編的《歇洛克·福爾摩斯》劇中的小傭人比利一角.1903年7月27日《歇洛克·福爾摩斯》新劇在氣勢恢宏的帕維廉劇院首演,不久外出巡迴演出.查理似乎一夜間發生了巨變,他好似找到了立志從事的事業.
1908年,19歲的查理墮入情網.他所鍾情的海蒂·凱年僅十五.在他們之間的戀情處於萌芽狀態時,海蒂的父母果斷地終止了它的發展,然而,海蒂迷人的豐采竟使查理終生難忘.
1910年,卓別林所在的卡諾戲班赴美國作一年一度的巡迴表演,他被認為是「當地美國人曾經見過的最為出類拔萃的啞劇表演藝術家之一.當他們抵達費城時,一紙電文接踵而至,把替換基石電影公司的一位明星的機遇賜於了他.
電影業是與查理同年誕生的.但當時人們普遍以為電影業充其量只曇花一現的時尚,它不可能替代現場真人表演.公司給他幾周觀摩的時間,他站在一旁,邊觀察、邊學習,下定決心要駕馭這個新生事物.這個新興的行業給他帶來了賺錢和走向成功的機會,也將有助於他從對戲劇觀眾喧嚷起鬨的擔憂中解脫出來.
1914年2月,查理主演的處女片上映,影片取名《謀生》 盡管此片由於導演的無能而令查理大失所望,但觀眾還是喜愛這部片子的.之後他又拍了幾部片,增長了不少學識.公眾喜愛他,並且電影銷售商索要越來越多的卓別林的片子,在極短的時間內,他成了電影界的重要人物
⑵ 求一篇關於卓別林電影《城市之光(city lights)>的英文觀後感，100多字就行了。英文不好，555555- -,,,,,
If I were the writer,I would changed a paragraph that implied the girl's dreams were dashed upon realizing her benefactor was a tramp. I don't think it mattered either way to her. I think she was just happy to finally meet the de, and maybe a little surprised that her de was a man of such modest means. At any rate, she was touched and joyful... nothing dashed or disappointed about it.
I think part of the greatness of the ending is its openness to more than one interpretation. I can see how it could be read as joyful. But personally, I see it as a crushingly sad ending-- Chaplin says, "You can see now?" She replies, "Yes, I can see," and the screen goes black, implying (to me) that any hopes the tramp had for them were ended when he gave her sight, and he knew it. It was a gesture of self-sacrifice on more than one level.
But regardless, the article should probably just describe what happens without putting an interpretation on it. I think it's fine as it stands.
⑶ 卓別林<<摩登時代>>讀後感
摩登時代觀後感 開頭利用深沉的交響，奠定了影片深沉的主題。 第一個畫面是一群綿羊，這一畫面我反復看了好幾遍，因為我的腦海瞬間搜索到了英國圈地運動。 接下來出現的了Subway和Car，以及後面的劇情讓我了解到《摩登時代》的背景是三十年代資本主義走向壟斷的時代，機械大工業高速發展，資本向少數壟斷財團手裡集中。 而卓別林扮演的一個無產階級工人角色，隨著這場工業和社會變革洪流到來的是大量淪為機器工業文明附庸，在技術革命的旋渦中迷惑，然後成為這個機器社會生產線上的螺絲釘，微不足道，隨時可以被無情拋棄。《摩登時代》作為表現20世紀初社會化大生產的最為著名的影片，為經濟危機給廣大工人帶來的痛苦而大聲吶喊呼號。 喜劇大師卓別林以獨特的視覺表現，笑中帶淚、喜中帶悲的詮釋方式，辛辣尖銳的諷刺和揭示出在當時的社會大環境下，工人飽受資本家欺壓剝削的嚴酷現實，以其卓越的表現手法向世人展示了一幅代表千百萬失業者遭遇的生活畫像。 抓住資本主義的本質，進行深刻而激烈的揭露，把資本家最大限度的榨取剩餘價值以及資本主義生產方式對無產階級的壓榨和摧殘的丑惡面目，展現的淋漓盡致！ 電影深刻地反映了當時的社會現實，它讓人們在笑聲中看到資本主義黑暗以及不合理的社會制度。 通過對電影里一些讓我印象深刻的場景的分析，我漸漸更深層次的了解。一工廠老闆不斷的苛求加快生產線的速度，工人只好忍氣吞聲。主人公查理被機器卷進卷出的鏡頭，以及被流水線弄得變成麻木機械的「工具人」，竟然想要在人的鼻子、鈕扣上擰緊螺母的鏡頭。一開始的大鍾內部齒輪運轉的特寫，便清楚描述了當時社會里的壓榨荒唐的行為。二資本主義國家殘酷、黑暗的現實，資本家無休無止的壓榨，已使許多人民無法生存，流浪街頭，沿街乞討，連工人的吃飯時間都想剝奪，因此發明了吃飯機器，讓工人在吃飯時能騰出手腳來繼續幹活……種種做法的最終目的都只是為了獲得更多的剩餘價值，因為剩餘價值才識資本家最終想要獲得的就是更多的剩餘價值。三在碼頭偷香蕉的美麗女主角，得到香蕉後臉上天真快樂的表情，逃跑時俏皮的動作。以及她與家人間的互相鼓勵，互相安慰，相親相愛的場面。 家人是我們永遠的依靠，家永遠是我們最溫暖的避風港。怪不得，當時的人們那麼希望能擁有一座房子，即使房子表面上看起來並不堅固，但在它的主人心裡，房子就像家一樣，是最牢固可靠的。 男主角為女主角擦乾眼淚，然後屏幕上出現了"Buck up-never say die.We'll get along!"。男女主人公相互鼓勵，一起微笑地攜手走向前路…… 很多人為這一幕所感動、贊美，我個人倒認為這種從悲劇里產生的希望才真的是諷刺的悲劇，對黑暗的臣服和逆來順受使人永遠背離光明。 所謂的「摩登時代」是一個十份特殊的時期，兩次工業革命的相繼發生完成，工業社會徹底取代了農業社會，人類從農耕文明邁向工業文明，社會化大生產成為生產的主要方式。 在這一歷史轉型期中人們忙亂而無助，資本家私下偽善的畫皮露出惟利是圖的本質，勞動者則順理成章的成為資本家攫取剩餘價值的工具。他們都身不由己的踐行著人類社會發展的規律。 此時此刻，我也想到了我們，生活在這么一個「摩登時代」，忙碌緊張的工作學習生活。 我們作為這個時代社會洪流里的一份子， 我們人類共同的理想就是為了真理自由的或在這個世界上，為了美好的未來一同努力。 《參考一下吧！》
⑷ 急求一篇卓別林電影觀後感 英文 100字左右
摩登時代觀後感
"Modern Times" begins with a shot of sheep going down a runway followed by a shot of workers entering a factory… Charlie is set down in the midst of instrial civilization, which is dominated by machinery and in which men are organized into mechanical units, Capital and Labor… Charlie's real enemies are no longer the Cop or the Boss, with whom he can always enter into some human relation, but a vast impersonality, invisible and invulnerable…
"Modern Times" offered a variety of minor attractions: it featured Chaplin's wife, Paulette Goddard; it had wonderful gags; it inlged in tricks of sound which came to the very edge of being dialog… But what did the picture mean, what was it trying to say? Because Chaplin charged his usual enormous percentage for it, and because of foreign receipts, "Modern Times" made money, but exhibitors were not happy at the limited audience turnout… For the majority, the new Charlie was too serious; for the minority, not serious enough…
Since the picture seemed to be about the dehumanizing effect of machinery, intellectuals called upon Chaplin to join them in reorganizing machine culture to some more human scale of things…
Off the screen, Chaplin said nothing… On the screen, his anarchic hostility for any kind of machine culture expressed itself in scenes like that in which Charlie is fed by a machine and that in which, crazed by the assembly line, he runs into the street, his arms moving convulsively like two pistons… Charlie the rebel, Charlie the poet, Charlie the invincibly human, had been turned into a machine.
⑸ 用英語表達對卓別林的評價
對卓別林的評價：
Chaplin was not just a genius, he was among the most influential figures in film history.
卓別林不僅僅是天才，也是電影史上最有影響力的人物之一。
⑹ 急需一篇有關於介紹「查理卓別林」的文章，要求是英文的介紹，側重於他對世界影壇的貢獻急！！！
In November 1924, Charlie had married his leading lady, Lita Grey. It was no wiser a marriage than his first had been. Despite the turmoil in his private life, Charlie went on and made a film called The Circus. Chaplin had done over seven hundred takes on that tightrope-- and all for a few minutes of film. The moment The Circus was completed, he launched into making City Lights. In the next few years Charlie was to make three of his finest films: City lights in 1931, Modern Times in 1936, and The Great Dictator in 1940.
After failure of the third marriage in 1942, He had met a young woman, the daughter of the great American playwright, Eugene O』Neill. She was only 17 years old and she and Charlie had fallen deeply in love. Her name was Oona. And now it was 1945, after the world II, America had become affected by a kind of madness, an obsessive fear and hatred of Communism. Charlie become the victim of this persecution. Against this atmosphere of persecution he set to work on a new film. The film was Limelight, the story of an aging music hall performer and the young girl he helps to success. Into it he put his memories of the London and the theatrical life he had known as a boy. America』s anti-communist emotions had found a new and more lunatic voice. On his way to London for its premiere. The US Attorney General had forbidden Chaplin re-entry to the United States. He was an exile.
He was received warmly in London and hailed as a genius. In the US, the vicious attacks continued, Charlie couldn』t go back, and the family left for Switzerland. In January 1953, they settled in the beautiful house at Corsier-sur-Vevey that was to be Charlie』s home for the rest of his life.
If America had denounced Charlie, he had his family-- and the acclaim of the rest of the world. In 1945 when McCarthy and his henchmen was discovered that they had been faking evidence. Now America opened its arms to Charlie once more and he showered with awards.
In 1975, just before his eighty-sixth birthday, Charlie, who had been one of the London』s "infant poor" was knighted by Queen Elizabeth II.
After a life of incredibly hard work, of great triumphs and great sorrows and trials, Charlie seemed to have entered a golden time. He was becoming frail, but loved to work as always.
"To work is to live-- and I love to live."
Christmas Eve, 1977 came and the house was brimming with children and grandchildren. Charlie was settled in his room, they left the door open so that he could share in the sounds of excitement and happiness that ran through the house.
In the morning, when it was time to wake him and to wish him a Happy Christmas, it was found that Charlie had died in his sleep. He was eighty-eight years old.
It was a good day for someone who had given so much laughter and encouragement to the world to slip away.
1924年月11月，查理娶女主角麗苔·格雷為妻。這次婚姻與第一次同樣不夠明智。面對個人生活的風浪，查理堅強不屈，接著開拍新片《馬戲團》在這部片子里，拍了七百多次卓別林走鋼絲的鏡頭，而最後用於影片的僅有幾分鍾。《馬戲團》問世後，他馬上開拍《城市之光》以後數年間，查理完成了最出色的影片中的三部，即《城市之光》（1931）、《摩登時代》（1936）、和《大獨裁者》（1940年）。
第三次婚姻失敗以後，1942年他遇識了一位年輕的女郎，她是美國著名劇作家尤金·奧尼爾的女兒。她才17歲卻與查理相親相愛，難舍難分。她的名叫奧娜。1945年的美國已彌漫開對共產主義的瘋狂仇視和困惱。卓別林成為這次迫害的犧牲品。就是在這種受迫害的環境中，他著手攝制一部新影片，這部影片就是《舞台生涯》它講述一位年邁的戲院演員協助一位年輕女郎取得成功的故事，反映了他童年時代熟知的倫敦概況和演藝生活。50年代初美國的反共狂熱掀起了新的、更為癲狂的咆哮。在赴倫敦舉行《舞台生涯》首映典禮的路上，美國司法部長宣布禁止卓別林再度入境美國。他成了一位流亡者。
查理在倫敦受到盛情歡迎，被興高采烈的人們捧為天才。然而在美國，對他的惡毒攻擊仍在繼續。查理無法返回，於是合家遷居瑞士。1953年1月，他們在坐落於維也納威城科西爾的漂亮宅院里定居下來，查理在那裡度過了餘生。
盡管美國對查理橫加指責，他卻擁有一個團聚的家庭，還享有世界其他各國的贊譽。1954年，麥卡錫及同夥，已經變得聲名狼藉，因為他們一直作偽證的事被揭發出來。於是美國又向查理展開了歡迎的雙臂，給予他的各種獎勵也紛至沓來。
1975年86歲前，過去曾是維多利亞時代倫敦「兒童濟貧院」小孩之一的查理，被英國女王伊麗莎白二世加封爵位。
一生中異常勤奮地工作、取得輝煌成就和歷經艱難困苦的查理，好似步入了人生黃金時代。盡管他身體漸趨虛弱，但仍一如既往地熱愛工作。
他說：「生活的目的在於工作，因此我熱愛生活。」
1977年聖誕節除夕夜，卓別林家裡子孫滿堂。家裡人將查理安頓在他自己的房間里，讓門敞開著，以便他能聆聽到回盪在別墅內的快樂祥和、熱鬧非凡的喜慶之聲。
第二天早晨，該喚醒他並祝他聖誕快樂的時候，他被發現已在睡眠中安然溘世，享年88歲。
對一位曾給世界人民帶來如此之多的歡笑和鼓舞的人而言，這一天無疑是悄然謝世的好日子。
⑺ 電影卓別林的悲喜人生的觀後感英語
"Modern Times" begins with a shot of sheep going down a runway followed by a shot of workers entering a factory… Charlie is set down in the midst of instrial civilization,which is dominated by machinery and in which men are organized into mechanical units,Capital and Labor… Charlie's real enemies are no longer the Cop or the Boss,with whom he can always enter into some human relation,but a vast impersonality,invisible and invulnerable…
"Modern Times" offered a variety of minor attractions:it featured Chaplin's wife,Paulette Goddard; it had wonderful gags; it inlged in tricks of sound which came to the very edge of being dialog… But what did the picture mean,what was it trying to say?Because Chaplin charged his usual enormous percentage for it,and because of foreign receipts,"Modern Times" made money,but exhibitors were not happy at the limited audience turnout… For the majority,the new Charlie was too serious; for the minority,not serious enough…
Since the picture seemed to be about the dehumanizing effect of machinery,intellectuals called upon Chaplin to join them in reorganizing machine culture to some more human scale of things…
Off the screen,Chaplin said nothing… On the screen,his anarchic hostility for any kind of machine culture expressed itself in scenes like that in which Charlie is fed by a machine and that in which,crazed by the assembly line,he runs into the street,his arms moving convulsively like two pistons… Charlie the rebel,Charlie the poet,Charlie the invincibly human,had been turned into a machine.