動畫片版羅密歐與朱麗葉電影觀後感

A. 請寫一篇英文的羅密歐與朱麗葉的讀後感或者觀後感

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羅密歐與朱麗葉的讀後感（605字）：
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Shakespeare shows his dramatic skill freely in Romeo and Juliet, providing intense moments of shift between comedy and tragedy. Before Mercutio's death in Act three, the play is largely a comedy. After his accidental demise, the play suddenly becomes very serious and takes on more of a tragic tone. Still, the fact that Romeo is banished, rather than executed, offers a hope that things will work out. When Friar Lawrence offers Juliet a plan to reunite her with Romeo the audience still has a reason to believe that all will end well. They are in a "breathless state of suspense" by the opening of the last scene in the tomb: If Romeo is delayed long enough for the Friar to arrive, he and Juliet may yet be saved. This only makes it all the more tragic when everything falls apart in the end.

Shakespeare also uses subplots to offer a clearer view of the actions of the main characters, and provide an axis around which the main plot turns. For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances. Romeo's infatuation with her stands in obvious contrast to his later love for Juliet. This provides a comparison through which the audience can see the seriousness of Romeo and Juliet's love and marriage. Paris' love for Juliet also sets up a contrast between Juliet's feelings for him and her feelings for Romeo. The formal language she uses around Paris, as well as the way she talks about him to her Nurse, show that her feelings clearly lie with Romeo. Beyond this, the sub-plot of the Montague-Capulet feud overarches the whole play, providing an atmosphere of hate that is the main contributor to the play's tragic end.

Shakespeare uses a large variety of poetic forms throughout the play. He begins with a 14-line prologue in the form of a Shakespearean sonnet, spoken by a Chorus. Most of Romeo and Juliet is, however, written in blank verse, and much of it in strict iambic pentameter, with less rhythmic variation than in most of Shakespeare's later plays. In choosing forms, Shakespeare matches the poetry to the character who uses it. Friar Lawrence, for example, uses sermon and sententiae forms, and the Nurse uses a unique blank verse form that closely matches colloquial speech. Each of these forms is also moulded and matched to the emotion of the scene the character occupies. For example, when Romeo talks about Rosaline earlier in the play, he uses the Petrarchan sonnet form. Petrarchan sonnets were often used by men at the time to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline. This sonnet form is also used by Lady Capulet to describe Count Paris to Juliet as a handsome man. When Romeo and Juliet meet, the poetic form changes from the Petrarchan (which was becoming archaic in Shakespeare's day) to a then more contemporary sonnet form, using "pilgrims" and "saints" as metaphors. Finally, when the two meet on the balcony, Romeo attempts to use the sonnet form to pledge his love, but Juliet breaks it by saying "Dost thou love me?" By doing this, she searches for true expression, rather than a poetic exaggeration of their love. Juliet uses monosyllabic words with Romeo, but uses formal language with Paris. Other forms in the play include an epithalamium by Juliet, a rhapsody in Mercutio's Queen Mab speech, and an elegy by Paris. Shakespeare saves his prose style most often for the common people in the play, though at times for other characters, such as Mercutio.

B. 羅密歐與朱麗葉現代版影評

本人觀感： 昨天一個人躺在床上聽ROMEO & LULIET的電影原聲，極苦極苦，冷到心底的絕望，好象心裡裝著一個海洋的淚水卻哭不出來。6年前，盛行什麼後現代，我合著什麼《哈姆雷特後現代版》一古腦網羅了，看完覺得是爛片。激情說的上，後現代差的太遠了吧？難道羅密歐穿件夏威宜的花襯衫，叼根香煙，挎把手槍，開輛二手車就後現代了？當然不可否認，這部電影本身提供了一個獨特的視角來重新審視莎翁，拷問愛情。片頭西裝革履的羅密歐在海邊憂郁地念著那首後現代感的詩「我輕著你的輕，我重著你的重」（字幕翻譯）就標志著一場視覺顛覆的開始。一切只是形式，打上時代烙印的化妝舞會也罷，火拚也罷，內核還是愛情。只是在現代，更多了專屬於青春期的躁動和頹廢。「恨灰中燃起了愛火融融，要是不該相識，何必相逢！昨天的仇敵，今日的情人，這場戀愛怕要種下禍根。」人們總是試圖在現代繁復的社會關系中尋求一種理想的愛情模式。即使羅密歐與朱麗葉活在當下，仍然免不了一場悲劇。「古往今來多少離合悲歡，誰曾見這樣的哀怨辛酸！」也許只有死亡才能拯救一切。 有幾個鏡頭十分喜歡： 在化妝舞會上，穿著銀色盔甲的羅密歐邂逅了天使裝扮的朱麗葉，兩人隔著半透明的金魚缸用試探的目光看著眉目如畫的對方，絮絮地講著一些旁人無法聽懂的囈語，音樂應景一般響起。愛情伊始正是這種迷幻朦朧的感覺，隔著金魚缸。 羅密歐與朱麗葉小教堂里私定終身，穿著精緻小禮服的里奧納多（19）牽著克萊爾·丹絲（17）的粉嫩小手，一臉神聖地朝牧師走來，看上去真的好小好可愛，象在辦家家酒。（莎翁原著中他們只有14歲） 最後一個印象深刻的畫面是羅密歐與朱麗葉的戀情曝光後，羅密歐被驅逐出了維洛那城，他象一個落暮的牛仔坐在曠野里抽著煙，花花襯衫和他憂郁的面容都被夕陽襯地緋紅，沉默半晌的長鏡頭，有著說不出的絕望。 至於演員，大多是本色演出，本來這就是一個現代美國式的故事。里奧納多演技平平，反正年輕就是資本。克萊爾·丹絲卻讓我大跌眼鏡，因為剛看過《小婦人》（1994年版），實在無法把那個慘兮兮的小妹妹（愛彈鋼琴早逝的那位）與眼前的朱麗葉聯繫到一起。其實她不甚美，但是表演很有靈性，有晉升一級演員的潛質。後來的《女孩天堂》也不賴，星運不佳，近年好象只看到在《時時刻刻》里露一小臉。此外，朱麗葉的母親及一些綠葉的表演也很出彩。

記得採納啊

C. 愛情親人二選一，太殘忍，電影《羅密歐與朱麗葉》的哪些細節與原著不同

D. 電影《羅密歐與朱麗葉》相比原著來說好看嗎

《羅密歐與朱麗葉》因其在文化史上的特殊地位，曾經有很多人對該題材進行影視改編，改編出的作品質量也褒貶不一。這些改編版本中，基本上維持了原本的愛情主題，也將愛情悲劇整個過程中的重要情節進行了再現。在多個版本中，最為人熟知的是由小李子萊奧納多主演的版本，但同時也是最具有爭議性的一個版本，由於場景改變、台詞文學性流失等原因，使得很多人說不如原著好看。

只有做出變化，才能真正給讀者以新鮮感。但古代經典改編本身就是一件費力不討好的事情，完全跟原著一樣，則一點刺激都沒有，因此，很多人認為《羅密歐與朱麗葉》的改編電影不如原著好看。如果改編過多，原著黨又會群起而攻之，怎麼都難以滿意。也是因為此，所以剩下幾個版本的《羅密歐與朱麗葉》電影，都幾乎淹沒在潮水般的電影世界了。

E. 莎士比亞四大悲劇 羅密歐與朱麗葉的影視作品 觀後感 每個800字 已有《哈姆萊特》的

樂觀主義的悲劇 ——《羅密歐與朱麗葉》評論賞析這部標以「後現代激情」的最新版《羅密歐與朱麗葉》實質上是借用莎士比亞的故事框架來虛擬現實的一部移花接木之作。莎士比亞那穿越歷史的浪漫內質在兩個世紀後被世人重新憶起，但世人卻大多不知莎士比亞為何人。經由編劇克雷格·皮爾斯和導演巴茲·盧赫曼的苦心經營，加之萊昂納多·迪卡布里奧和克萊爾·丹絲的出色演出，這部影片成為一部典型的現代時式的青春偶像片。克萊爾·丹絲使朱麗葉具有了一種現代女性獨立堅毅的自主精神，萊昂納多·迪卡布里奧則為羅密歐注入了屬於現代青春少男特有的狂放不羈和敏感氣質。導演巴茲·盧赫曼努力使置身於荒蕪中的浪漫主義詩情放射出零星的微光，使其指引觀眾，在慵懶的吉他和沙啞的鼓點之後，是迪卡普里奧的獨白：為何愛是這樣痛苦，仇恨的愛，哀傷的喜悅，沉重的輕……現實生存的兩難和超於眾生之上的神秘氣息在影片的低語處彌漫…我知道有首好聽的名曲叫「羅密歐與朱麗葉」，也知道這是個愛情故事，是莎士比亞的名著。盡管知道它是個悲劇，可說實在，在看本片前，我並不知道它究竟有多「悲」。讓我無法接受的是，羅密歐與朱麗葉的愛情悲劇，並非是我曾朦朧地、膚淺地認為的那樣——不過是封建禮教的犧牲品。直接導致兩人彼此最終的「殉情」，竟然是陰差陽錯的意外「事故」——如果羅密歐與朱麗葉在天有靈，也一定會「憾」死的，就象我很想從墳墓里揪出莎士比亞，質問他為何要編出這樣令人斷腸的劇情？而事實上這實在不能怪莎士比亞，因為我們有理由相信，羅密歐與朱麗葉的「憾事」是有其生活原型的。如果你也曾象我一樣，對羅密歐與朱麗葉的故事還只是朦朧的認識，建議你通過此片完成對一部名著的解讀。在我看來一場愛情，無論如何我不能接受這樣「錐心」的結局。《羅密歐與朱麗葉》是莎士比亞早期創作的著名悲劇。它詩意盎然，熱情充沛，洋溢著濃郁的浪漫氣息和喜劇氛圍。其藝術風格與作家早期創作的大多數喜劇相一致，被人們稱為抒情悲劇。悲劇的沖突是羅密歐與朱麗葉的戀情與兩個家族間的仇恨和對立，它表現了自由的愛情與封建勢力之間的尖銳的矛盾沖突。故事的發生地維洛那城實際上是英國16世紀末伊麗莎白女王鼎盛時期社會現實的藝術再現。一方面以親王為代表，象徵了王權統一的力量，它受到廣大市民的擁護，另一方面是貴族蒙太古家族和凱布萊特家族世代的積仇結怨，它代表著從中世紀延續下來的相互爭奪的封建集團的勢力。但時代在前進，這兩大世仇的新一代人竟在一次舞會上一見鍾情，彼此相愛，於是家族的怨仇與個人愛情之間便形成了尖銳、巨大的戲劇沖突。羅密歐與朱麗葉都無視於家族的仇怨，他們輕蔑地覺得，妨礙他們結合的只是枉具虛名的姓氏。朱麗葉曾說：「名字有什麼?我們叫玫瑰的那種花換成別的名字還不是一樣芬芳。羅密歐要是不叫羅密歐，同樣會那麼可愛完美，這本來和名字沒有關系。羅密歐，拋棄你的名字吧，為了換取跟你本身毫無關系的空名，把我整個兒拿去吧。」羅密歐對於姓氏的態度更為激烈、率直：「你只要把我叫做愛，我就重新受洗，重新命名，從今以後，永遠不再叫羅密歐。」真正的愛情，使他們變得勇敢而無畏，他們背著父母到勞倫斯神父的寺院里秘密成婚，最後他們為了反抗封建家族勢力和封建的包辦婚姻不惜以死殉情，譜寫了一曲最為悲壯動人的愛情頌歌。戲劇的結尾，蒙太古和凱普萊特兩家終於因為這對情人的死而拋開舊仇，言歸於好，並且用純金在維洛那為羅密歐與朱麗葉鑄像。這意味著兩個年輕人為之獻身的理想勝利了。他們將成為未來人們的典範。老凱普萊特在痛悔中承認：這對情人是「我們的仇恨的可憐的犧牲品」。然而劇中死去的不止這兩個，牽涉到的也不止這兩家，正像維洛那親王最後說的：「大家都受了懲罰」。但羅密歐與朱麗葉悲慘的死亡，同時又證明了他們所代表的人文主義新價值觀念的勝利，使社會擺脫了無謂的仇恨和紛爭。禍患無窮的世仇消解了，仇人轉變而和好了，在維洛那，人們將從羅密歐與朱麗葉的悲慘故事中學到極為重要的一課：愛情比仇恨更有力，甚至死亡也不能把它摧毀征服。從這個意義上說，《羅密歐與朱麗葉》是一部樂觀主義的悲劇。莎士比亞曾明確地稱《羅密歐與朱麗葉》為命運悲劇。但這部作品與莎士比亞以後創作的悲劇有著明顯的不同。它除了強烈的愛戀這單一的情致外，它幾乎都是出乎難以解釋的偶然。里格爾曾明確地說：「在《羅密歐與朱麗葉》里，外在的偶然事故粉碎了精明能乾的神父的干預，就導致兩位有情人的死亡。」以黑格爾觀點為基礎評論莎士比亞悲劇的布拉雷德也說：「羅密歐與朱麗葉的命運先是向上發展，在他們的結合中達到頂點，然後就因為雙方家族的反對開始衰落。家庭的反對加上偶然事故造成悲劇的結局，但隨即又轉化為由悔恨導致的和解。」仔細研讀劇本，確實如此。羅密歐與朱麗葉相見是偶然：為凱普萊特家族舉辦的舞會通知貴賓的僕人竟不認識通知單的名字，羅密歐為他念誦時知道了這一消息，為了見到自己迷戀的美人羅瑟琳，羅密歐才決定冒險參加舞會，不想卻見到了嬌美、清純的朱麗葉，兩人一見鍾情，成為悲劇的起因。羅密歐失手殺死朱麗葉的表兄提伯爾特也是偶然：羅密歐的好友茂丘西奧和提伯爾特口角，羅密歐的勸阻，招致提伯爾特的咒罵和挑釁，羅密歐一再退讓，激怒的茂丘西奧和提伯爾特拔劍相擊，被提伯爾特刺死。悲憤的羅密歐沖上拼擊，殺死了提伯爾特，於是被大公判決逐出維洛那城，成為悲劇情節發展的關鍵性的動因。羅密歐最後服毒還是偶然，勞倫斯神父設計朱麗葉服葯昏睡假死，然後送信通知流放的羅密歐，使兩人一起遠走他鄉。但信未送到羅密歐先得到朱麗葉死的傳聞，遂秘密潛回維洛那，勞倫斯神父得知消息後，匆忙趕往墓地，而羅密歐已經進了墓穴，服毒死在即將蘇醒的朱麗葉身邊，這一切成為導致悲劇性結局的最後的直接原因。總之，《羅密歐與朱麗葉》中，是一系列偶然性的情節，使家族的世仇與真摯的愛情構成了矛盾，並不斷地激化著矛盾，使矛盾的解決無法採取圓滿的方式，只能選擇了最後的毀滅。所以這部戲劇留給人們的首先是對於本可避免而又未能避免的悲劇結局的遺憾，是對於殉情所導致的家族和解的欣慰。卻不是像他中期創作的那些著名的悲劇一樣是對於人類社會和人類本性當中的必然性悲劇因素的思考。

F. 請寫一篇英文的羅密歐與朱麗葉的讀後感或者觀後感(不太長，三段夠了)

Shakespeare shows his dramatic skill freely in Romeo and Juliet, providing intense moments of shift between comedy and tragedy. Before Mercutio's death in Act three, the play is largely a comedy. After his accidental demise, the play suddenly becomes very serious and takes on more of a tragic tone. Still, the fact that Romeo is banished, rather than executed, offers a hope that things will work out. When Friar Lawrence offers Juliet a plan to reunite her with Romeo the audience still has a reason to believe that all will end well. They are in a "breathless state of suspense" by the opening of the last scene in the tomb: If Romeo is delayed long enough for the Friar to arrive, he and Juliet may yet be saved. This only makes it all the more tragic when everything falls apart in the end.

Shakespeare also uses subplots to offer a clearer view of the actions of the main characters, and provide an axis around which the main plot turns. For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances. Romeo's infatuation with her stands in obvious contrast to his later love for Juliet. This provides a comparison through which the audience can see the seriousness of Romeo and Juliet's love and marriage. Paris' love for Juliet also sets up a contrast between Juliet's feelings for him and her feelings for Romeo. The formal language she uses around Paris, as well as the way she talks about him to her Nurse, show that her feelings clearly lie with Romeo. Beyond this, the sub-plot of the Montague-Capulet feud overarches the whole play, providing an atmosphere of hate that is the main contributor to the play's tragic end.

Shakespeare uses a large variety of poetic forms throughout the play. He begins with a 14-line prologue in the form of a Shakespearean sonnet, spoken by a Chorus. Most of Romeo and Juliet is, however, written in blank verse, and much of it in strict iambic pentameter, with less rhythmic variation than in most of Shakespeare's later plays. In choosing forms, Shakespeare matches the poetry to the character who uses it. Friar Lawrence, for example, uses sermon and sententiae forms, and the Nurse uses a unique blank verse form that closely matches colloquial speech. Each of these forms is also moulded and matched to the emotion of the scene the character occupies. For example, when Romeo talks about Rosaline earlier in the play, he uses the Petrarchan sonnet form. Petrarchan sonnets were often used by men at the time to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline. This sonnet form is also used by Lady Capulet to describe Count Paris to Juliet as a handsome man. When Romeo and Juliet meet, the poetic form changes from the Petrarchan (which was becoming archaic in Shakespeare's day) to a then more contemporary sonnet form, using "pilgrims" and "saints" as metaphors. Finally, when the two meet on the balcony, Romeo attempts to use the sonnet form to pledge his love, but Juliet breaks it by saying "Dost thou love me?" By doing this, she searches for true expression, rather than a poetic exaggeration of their love. Juliet uses monosyllabic words with Romeo, but uses formal language with Paris. Other forms in the play include an epithalamium by Juliet, a rhapsody in Mercutio's Queen Mab speech, and an elegy by Paris. Shakespeare saves his prose style most often for the common people in the play, though at times for other characters, such as Mercutio.

羅密歐與朱麗葉英文讀後感(雙語)

"Romeo and Juliet" is a comedy factors with the tragedy, reflecting the characteristics of Shakespeare's early creativity, His Romeo and Juliet love, full of humanism of the Renaissance romance, Shakespeare is relatively unique style of a play. The destruction of the opera to better reveal the thrust of the tragedy, the author left a final optimistic about the outcome: Mongolia and Kaipulaite Swire family and two good, two young people sacrifice their ideals for the victory They were pure gold statue will always be in the stands the city. This is the author of Romeo and Juliet tribute to the power of love, but also as a tragic drama to the tone of uncertainty optimistic one of the reasons why, as the author is a Renaissance humanist on human love and the pursuit of happiness, the pursuit of development and progress the embodiment of confidence.

《羅密歐與朱麗葉》是一部具有喜劇因素的悲劇，反映了莎士比亞早期創作的特色，他筆下的羅密歐與朱麗葉的愛情，充滿著文藝復興時期人文主義者的浪漫情調，是莎翁風格比較獨特的一部劇作。全劇以美好的毀滅揭示了悲劇的主旨，最後作者留下一個樂觀的結局：蒙太古和凱普萊特兩家族和好，兩個年輕人的犧牲換取了他們理想的勝利，他們倆的純金塑像將永遠矗立在維洛那城。這既是作者對羅密歐和朱麗葉的愛情力量的贊頌，也是該劇作為悲劇能體現明朗樂觀的基調的一個原因，更是作者作為一個文藝復興時期人文主義者對人類追求愛情和幸福，追求發展和進步的信心的體現。

G. 求一篇電影《羅密歐與朱麗葉》影評

1996年由美國20世紀福克斯公司出品的影片《羅密歐與朱麗葉》是根據莎士比亞的同名悲劇改編的。原劇中的故事發生在義大利古城維洛那，而電影中的維洛那卻是一個繁華熱鬧的現代都市。影片中的加油站、汽車、高樓大廈這些現代文明的標志，無不在提醒觀眾，電影中的「維洛那」實際上就是自己生活的當代社會。片中驚心動魄的槍戰，警用直升機，帶霓虹燈的十字架，更讓人們幾乎忘記了這個故事本來是發生在400多年前的義大利小城。
影片借用了原著的故事框架，表現的卻是現代都市青年速配式的愛情及其矛盾性。影片屬於後現代主義電影的范疇，在風格上，影片借鑒了許多美國類型片，如警匪片、驚險片等的表現手法，盡管這些類型似乎與莎翁筆下的那個愛情故事在風格上有些風馬牛不相及，但它們恰恰都是20世紀90年代的青少年觀眾非常熟悉而感興趣的。一部影片往往也是一個時代的產物，影片的這種借鑒除了能從一個側面提醒觀眾注意這部影片誕生的那個時代特色，同時也強化了導演所企望達到的效果：影片不是單純的莎士比亞悲劇的翻版，而是在一種新的場景中對莎劇的全新釋義。
對於這樣一部改編自經典又極大程度地背離了經典的另類電影，有些觀眾純粹是抱著好玩的態度去觀賞的，作為一種文化消費方式，這無可厚非。可能還有些人覺得導演有些「惡搞」，是對神聖經典的褻瀆，這在後現代文化語境下的今天看來未免顯得不夠大度，對此，我們也沒有必要去嚴詞反駁，畢竟對任何一部作品的讀解都會有正反兩方面的觀點，更何況，該片本來就不是以還原名著為目的的，它表達的只是導演對原著的另一種理解和闡釋。

H. 緗楀瘑嬈т笌鏈變附鍙惰傚悗鎰

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