① 电影《香水DAS PARFUM》影评英文版
Junior high school when reading the original novel, only after reading that the world really wonderful, and later heard that a remake into a movie, read, discovered that a good film
First of all, the film adaptation of it as a relatively faithful to the original, but this is not easy to do, take a look at the recent death of the notes will know, the moral aspect, the film has always been a degree of tolerance than fiction, television and tolerance Also lower than the film, but the shooting of the film are shot out, everything was wonderful world of not less, especially from the end to the plot and narration are the same as the original, original works may be too strong to the extent that the director also would like to change too You
The film also has a subtitle called the story of a murderer, compared with the curry favor with the public, but may be e to the box office, that person is called an artist's story is more appropriate
Yan Zhujiao is a very special actor, his eyes revealed the depths of madness, it's a bit like Di Jiuri protagonist, an actor that looks like a skull, eyes, but it was clear people forget to look over
Then look at the original time is also small, also saw white, now remind ourselves that this is what a lot of profound symbolic
The novel is about a man looking for love and self-story, the protagonist is no smell, which implies a lack of self, and the smell of his sensitive than ordinary people to bring him some characteristics of the tragedy, he did not persist in the East and West He snatch other people's smell, he finally got the smell and the people love, but he also true of their own and I was puzzled by the existence of despair and this is a typical Gothic-style romanticism of the story
Obviously the film has found a starting point, which makes the whole film has a clear line
This is a romantic love story
Protagonist missed the first girl killed when his expression of despair, he tells us that the pursuit of the perfume is not just that he fell in love with a girl, she fell in love with the smell or the other does not matter, it was always his first love, as a There are also born with defects autistic boy is Qingdouchukai let him know what to do, he has to get her to keep her, but he did not know how, he thought he had found a way to kill them, make perfume, spreading in Himself, and he turned into them, and this is his love, the two become one, but then he found that he did not want his real self, that the round-shouldered dark as there is no Self-possession in Hong Wen dressed appearance, and no one to love, film, he looked at everyone on the stage in the high, first emerged in the minds of young girls figure, this clearly tells us that the entire movie theme
Romantic love has always been a pessimistic view, because a person can not be another person, no matter how close the other side can not belong to you, because it is two people, two of the main, the theme of love is despair, every time Do you think the other side has been found that this is only an illusion of time and disappointment brought about by the end of despair
The film's symbolic in this
Finally, he will disappear like crazy people in love, but died of loneliness and despair
② 香水观后感
[香水观后感]看了《香水》这部电影,整部戏里只有一个主角,但看完后却震憾人心……
《香水》:这部电影讲述了一位年轻人的一生传奇,一个游离于社会之外的孤儿的故事,他是专注的,因为他没有社会中普通人所有的杂念与欲望,他又是无情的,因为他没有社会中普通人所有的道德与感情,香水观后感,观后感《香水观后感》。正是这些,成就了他与他的“香水”。
看完这部电影,让我想起自己过去这么多年一直走过来的路,原来我是幸运并幸福的……
虽然没有大风大浪,但也是迂回曲折,经历了这么多,其中付出了也不少,可我的梦想还没实现,是我不够努力吗?还是我走错方向了?或许是多年前的选择错了,导致今天的一切都是那时选择的附属品……呵呵,幸好并不全部都是坏事。
〔香水观后感〕随文赠言:【人生舞台的大幕随时都可能拉开,关键是你愿意表演,还是选择躲避。】
③ 求一篇英美电影的影评 中文的最好1000字以上 只要是英美的就行
《海上钢琴师》
一九零零年的第一天。油轮维珍尼亚号载着熙熙攘攘的欢呼人群在纽约港靠岸。在梦想的鼓动下黑压压的人流涌下船,迎接充满可能性的美好未来。喧嚣过后,船上除了船员所剩无几。添煤工人Danny Boodman于是偷偷跑到餐厅搜罗客人遗落下的贵重物品,结果一无所获。失望之余,他在钢琴架上发现一个漂亮的婴儿。他抱起婴儿,看见他的目光清澈,皮肤白净。Danny Boodman对这意外收获十分惊喜,于是收留了这个孩子,起名叫1900,纪念这孩子在新世纪的第一天被他收养。
善良的Danny Boodman十分痛爱小1900,教他读书,不让他受苦。但因为没有任何出生证明之类的文件,Danny Boodman害怕1900会被别人抢走,不许他离开船舱一步。
在1900八岁时,Danny Boodman死了,在懵懂的1900于生离死别前迷茫时,突然听见远处传来美妙动人的声音,他回过头,身边一个亚洲女人告诉他,这是音乐。
几日后,1900在夜里偷偷溜进餐厅,来到白天船属乐手演奏娱乐上等乘客的钢琴前,弹起了自己即兴发挥的曲子。歌声吵醒了许多乘客,他们好奇的想去探个究竟,却都陶醉在这小家伙如天籁般的音乐中。直到音乐停下来,船长才过去对他说,“1900,你不可以弹琴,这完全不合规矩。”年幼的1900任性的回答说:“规矩全都滚蛋。”
几年后,成人的1900成了维珍尼亚号乐队的钢琴师,虽然他从未下过船,但是已经名声远扬。在一次暴风雨中,他巧遇了正在晕船的max,两个人十分投缘。从此,max成了他一生的知己。
max十分欣赏他的音乐才华,但也同时对他固执的不肯下船等上陆地感到困惑。他希望1900能向世人展示自己的才华,得到世人的承认,名利双收,过上好的生活。但对1900而言,世人向往的生活对他而言太过遥远,无法理解,也因此根本不具备诱惑力。
即使弹琴胜过爵士乐的始祖Jelly Roll Morto,让max名声大噪,唱片出版商希望为他录制唱片,并保证他会名利双收,他的内心依然平静,安于生活和音乐带给他的快乐。直到他遇到一个朴素而迷人的女孩。那一天他正在录制唱片,女孩顺着窗子向里看,和他四目相对,他立刻爱上了她。随兴而发弹奏了一曲为爱情的柔情似水的曲子。
在女孩下船的几周后,1900十分的痛苦,他想去找她。max的劝说和对爱情生活的憧憬打动了他,他最终决定下船,登上陌生的陆地。那天所有的船员都和他挥手告别,他穿着max送给他的大衣,缓慢的走下船梯,走到一边时,他茫然的看着诺大的纽约市,凝视了一阵,他突然拿起礼帽抛向远方,然后回头,返回了船上。他对max说,我再也不下船了。
直到许多年后,大战结束,早已离开维珍尼亚号的max偶然发现破旧的维珍尼亚号就要被炸掉,他坚信1900在船上,几经周折,最终找到了他。但是1900执意不肯下船,世界太广阔了,让他陌生得害怕,这个船对他就是一切。max最终悲伤的离去,在远处目送维珍尼亚号和1900一同被炸弹粉碎。
那天他告诉曾对之提起过1900的传奇故事的乐器行老板1900死了,老板也感到惋惜,于是把max因为窘迫买掉的小号还给了他,对他说,一个好的故事比一个旧小号值钱。带着仅值旧小号的1900的故事,max离开了,从此,很少再有人会记起那一生不会踏上陆地的天才钢琴师和他传奇的一生。
戏剧之所以为戏剧,便因为命运推动故事展开,而并非常理。戏剧不贴近我们的生活。我们不会用一生去固守一样东西,更不会传奇的生活,并传奇的死去。所以戏剧的目的,主要是让我们沉浸在大的悲喜中感动。海上钢琴师是戏剧,但又贴近人心。因为整篇故事充满着人情味,有对未来充满梦想的乘客,也有执着于音乐一生的钢琴师,有一生知己惺惺相惜的情谊,也有一见钟情,魂不守舍的浪漫爱情。
我看海上钢琴师前,已有无数人介绍,不过,已经有所准备,在看过后,我亦不能减少我的溢美之词。所谓经典,就是指这样的电影。
8岁的1900养父意外死去,他的养父温和而豪爽,对他极好。葬礼上的1900眼泪未干,却满脸迷惑,他不知道为什么会生离死别,不知道这是怎样一种情况,他为什么见不到他的养父了,为什么会如此的痛苦和恐慌。这时,他听见远处隐约传来打动人心的美丽声音,他回过头,身边的女人告诉他说,这是音乐。
1900从此迷上了音乐,这不仅是因为他在音乐上的天资极高,也因为他发现,通过音乐,他能把心中的任何情感表达出来,那一声一声的痛楚打动着他的心,也让他对这残忍的痛苦从此释然。
所以当许多年后骄横的爵士乐始祖提出与1900比琴技时,我便确信1900必胜,因为技巧无法战胜体验人生百态的音乐,那是打动,抚慰人心的声音。1900通过双手一点一点剥离你曾经的痛楚和快乐,使你深有触动。
但是海上钢琴师也仍有许多败笔,1900神游世界的情节在整个剧情中显得有些孤立,无法呼应其他情节,只能算无关痛痒的点缀。在与爵士乐始祖一战,通过技巧和天赋战胜对手,增加了1900的传奇色彩,但是相比较,如果通过感人的琴技打动对手剧情上更完美。结局千呼万唤始出来,普鲁特·泰勒·文斯的演技似乎却并不足以驾驭max的戏份,所以只能让提姆·罗素所扮演的1900唱独角戏,整体上显得苍白。
但海上钢琴师之所以成为经典,在于他的许多对话精确的体现了1900的内心。从小就呆在船上的1900对陆地充满了恐惧,他一生从未曾踏上陆地,只在双手游动于琴弦间时神游世界,和通过双眼观察旅客,体味人生百态。一个中年船客的话被一直记在他内心深处。那个船客告诉他,他听见大海说,生命是重大的,所以他才要改变。也许是因为那个人提到了海的声音他才能去相信,因为只有声音才是他与这个世界最直接最敏锐的沟通途径。他一直对陆地怀有矛盾的情感,他向往它,又不肯触及它,所以那个中年人的话让他相信,也许终有一天,他回离开船。——但是直到那一天他决定离开,他突然发现,外面的世界对他如此陌生,他从未接触过,不知何去何从,从哪里出发,终归何处,他对自己所能做的感到迷茫,对未知的感到害怕。他只能留在船上,即使,最后一起被炸药炸飞。
他说:“我看不见城市的尽头,我需要看见世界的尽头。拿钢琴来说,键盘有始也有终,并不是无限的,音乐是无限的。在琴键上,奏出无限的音乐,我喜欢。可是走过跳板之后,前面的键盘,有无数的琴键。无限大的键盘怎奏得出音乐?——不是给凡人奏,是给上帝奏。我生于船,长于船。这艘船每次只载客二千,既载人也载梦想,但范围离不开船头与船尾之间,我过惯那样的日子——陆地?对我来说,陆地是艘太大的船,是位太美的美女,是条太长的航程,是瓶太浓的香水,是篇无从弹奏的乐章。我没法舍弃这艘船。我宁可……舍弃自己的生命。反正,世间没有人记得我,除了你,只有你知道我在这里。你属于少数,原谅我,朋友,我不能下船。 ”
max最后没有再去劝他,所以他是1900的知己,他知道1900的结局之能如此,无人能改变,这对1900也许是唯一的,最正确的选择。在离别时max不时的因为1900的轻松的玩笑话停下脚步,仿佛告诉我们,1900的死去对1900自己是真正的幸福。
在影片中,1900的故事即使被讲述也并无法让人相信,感人肺腑的情节最后换来max拿回了自己的小号。这是最感伤之处。我曾经相信1900随着炸弹上天对故事而言已经是一个完美的结局,但随后平淡的结束却不给我任何的累赘感。这个结局是天赐的,我相信。最后的镜头max在街道的尽头消失,无论曾如何红极一时,这传奇的故事平淡的落幕,1900也只能活在max的回忆中。 人生本来就是一出没有固定剧本的戏.
你身旁的每一个人都是观众,只是他们的目的和看法不同.
你身旁的每一个人又都是演员,上演着一出出波澜不惊的生活故事.
这个世界需要传奇.
也许1900有了心爱的女孩作为观众,他的人生会变的更色彩纷呈,充满活力,但我们仍会怀疑男女主人公最后的命运.
也许1900上了岸以后,会变的名利双收,无往不利,但我们仍会思索一个船一个世界,孰轻孰重.
因为有了爱人的1900,就不再是经典,上了岸的1900便不再是传奇.
为了这个传奇,导演残忍的让一个天才娶了一架钢琴.1900真正的爱人就是钢琴.每一个琴音所表达的感情,1900都再熟悉不过.人与人之间的感情不可能达到这一点,有点可悲,但确是事实.
这是一个物质丰富,但感情相对匮乏的时代,各式各样的欲望冲淡了感情的点点滴滴.
人们需要通过戏剧来惊喜,来悲伤,来感动.
人们需要塑造经典.不朽传奇........
④ 电影香水影评
影片以格雷诺耶鼻翼翕动展开了电影的叙事过程,也展示出主人公格雷诺耶的与众不同之处:正是在其天赋异禀的嗅觉指引下,格雷诺耶的生命在世界上才得以存活、发展、兴盛终至毁灭。
虽然影片将故事发生的年代返溯至18世纪,但影片以嗅觉的指引、以对香水的找寻为叙事线索,透过格雷诺耶这一人物形象,为观众揭示的却是一个现代社会中个人自我实现的神话,归属感和爱的缺乏导致了神话的覆灭,这正是影片的主旨之所在。(《电影文学》评)
(4)香水电影观后感扩展阅读
《香水》主要剧情:十八世纪,让-马普蒂斯特•格雷诺耶(本•韦肖 Ben Whishaw 饰)出生在巴黎最肮脏、最恶臭不堪的地方——鱼市场上。格雷诺耶天生对气味有着惊人的天赋:无论恶臭还芳香,他都一一记住,并能轻易分辨各种气味。
当他在孤儿院长到13岁的时候,被院长卖给了制皮匠。格雷诺耶在制皮铺过着犬马不如的生活。机缘巧合,格雷诺耶在香水巴尔蒂尼面前展露了其过人的天赋,进入了香水铺工作。
但格雷诺耶并不仅仅满足于制作出世界上最芳香的香水,他梦想学得如何保存万物气味的方法。巴尔蒂尼告诉格雷诺耶香水的起源地在格拉斯,那里的人知道保存气味的方法。格雷诺耶拿着巴尔蒂尼的推荐信来到了格拉斯。格雷诺耶爱上了青春少女的体香,为了把这种香味保存下来,格雷诺耶最终走上了杀手的道路。
⑤ 求一篇《香水》的英文影评
Tom Tykwer adapts Patrick Süskind"s bestselling novel about an 18th century French psychopath with a superhuman sense of smell A German director, adapting a German novel set in France, with actors speaking English, plus extensive voice-over and a near-mute protagonist who spends a lot of his time sniffing. It doesn"t exactly sound like a recipe for cinematic success. Re马克ably, Tom Tykwer (Run Lola Run, Heaven) has pulled it off, creating a film that overcomes its more awkward elements to be a visually impressive, highly unusual period thriller.
If you"ve read Patrick Süskind"s 1985 novel, dou变态less you"ll recollect its opening pages, where the profound stink of eighteenth century Europe is described and the protagonist, Jean-Baptiste Grenouille is born to his fish vendor mother, amid the guts and heads of a Paris fish 马克et, "the most putrid spot in all the kingdom". Tykwer doesn"t immediately take us to this scenario, but after a short prologue showing the grown-up Grenouille in chains and on his way to the scaffold, he unleashes the full glory of a splendidly yucky cinematic realisation of said birth scene. In the light of the usual tone of period dramas, it"s refreshingly foul.
The first half of the film is defined by this grot as Jean-Baptiste is sent to an orphanage, where he grows up an odd child who unnerves the other children - as we"re informed in the extensive narration provided by John Hurt. If you"re of the school of thought that insists a good movie shouldn"t use voice over, perhaps Perfume isn"t for you, as much of the film relies on it, in part e to Grenouille not being much of a talker. Instead, he sniffs his way around the world, his sense of smell so acute he can identify pretty much any creature or substance within a large vicinity. After being sold to a tanner, he grows up into the appropriately wiry Ben Winshaw, who gives a gripping performance even if his delivery is a tad bious. Grenouille discovers the full panoply of scents on his first trip into the centre of Paris. He"s drawn to a perfumer"s shop, but then lured away by the scent of a beautiful young girl (Herfurth) selling plums. She becomes his first kill, almost by accident, and his lifelong obsession - the scent of her body is the most intoxicating he"s experienced.
When happenstance brings him into contact with the once famous but faded perfumier Baldini (Hoffman, doing the film"s only American accent), Grenouille so impresses him with his uncanny skills, he takes him on as an apprentice. This leads to him travelling to the perfume capital of Grasse in Provence, where he learns other techniques, which he then starts to exploit in his attempts to capture the elusive ideal scent of feminine youth and beauty. So begins his serial killing, and a new, ongoing mania for another beauty - Laura (Hurd-Wood), the daughter of a rich merchant, Richis (Rickman).
In the process, we learn some fascinating details about the proction of perfumes - which involve notes and chords, like music. We"re also introced to a fabulous bit of psychopathology - Grenouille is half super-canine, half-superhuman nutter, whose powers enable him to manipulate people, though he"s entirely without moral constraint or purpose. As such, he"s a force, a power. The film closes in 1766, and it would be nice to read the culmination of his ambitions as in some way having an influence on French society, then starting to ferment and build towards revolution. It"s probably reaching, but either way, the prior scenes of him manipulating a mob in the most extreme ways are an example of his re马克able abilities. The film plays around nicely with conventions, so when Grenouille first follows the plum seller, the musical cues are pure romance. However, it"s not love for the girl our weird antihero feels, it"s love for her smell. The whole endeavour is like a grotesque romance, as his obsessions move him on to his infatuation with Laura. Tykwer slyly shoots it as if she"s gazing at him, or moving towards him, but he"s actually hidden, and while she"s oblivious, he"s savouring her scent.
The film does suffer from some pacing issues ring its 140 minute running time. However, even when the story is dragging, the film is so visually rich, it retains a pull. The $50 million budget is certainly up there on the screen, with wonderful proction design, and cinematography by Tykwer"s regular collaborator Frank Griebe. The first hour is amazing for its visions of old bridges packed with decrepit buildings and streets paved with filth. Grasse, on the other hand, introces a blaze of colour, with lavender fields and the town itself lit by the Provencal sun. It"s a beautiful, bright backdrop for Grenouille"s dark activities, which have him experimenting with elaborate equipment like some odour-oriented Dr Frankenstein.
希望能帮到你~
⑥ 读《风的香水铺》有感
思路:
可以从故事的描写手法、故事的表现特点来写。
读《风的香水铺》有感:
作者以优美的笔触,讲述着一个个或悲伤、或明亮的幻想故事。在明快清丽的文字背后,作者融入传统与现代的文化元素,为孩子们编织着五彩的童话彩衣,令大家在优美的故事中,发现世界的方方面面。
一篇篇风格独特、充满年少气息的童话,犹如一点点萤光,不刻意燃烧如火,但无比清亮晶莹,让人不由想伸手去触碰、迎接。愿那饱含想象的故事以及美丽的情愫落在心上,然后无比舒适地被这梦幻般的光照亮。秦萤亮的创作无疑是中国原创童话独树一帜、无可或缺的力量!
(6)香水电影观后感扩展阅读:
《风的香水铺》简介:
偷时间的女孩隐藏在我们当中,她貌不惊人,各方面都平平无奇。超市架子上,那些长年无人问津的肥大毛衣和运动装,都是被偷时间的女孩买去的。因为她非常爱惜偷到的时间,决不会浪费在买衣服这种小事上。
没人说得清偷时间的女孩究竟有多少岁,因为她不断地旅行,从这个城市搬到那个城市,又不断地改变发型和装扮。可以肯定的是,虽然她已经在我们之间隐藏了很久很久,但她还像当初那么年轻,因为一个偷了许多时间的人是不会长大和变老的。
最早以前,人们不会使用时间。那时候,是太阳和月亮帮助人们把一天分成了两半。大家在亮的那一半里找食物,在暗的那一半里睡觉。但没学会....
⑦ 看完美国电影《闻香识女人》你最大感受是什么
中校去他哥哥家的那段戳中了我的泪点,他一点都不想,死,哪怕这个世界上有一丝丝的温暖,他都可以留下,看的时候没关弹幕,中校在他哥家吃饭被辱骂嘲讽的那段,弹幕飘了一句“好可怜,他明明那么开心,为了去.他哥哥家还刻意给自己做了一身新衣裳...”那一刻,他真的不再是一个咄咄逼人的中校了,而是一个满心期待温情的的老人,就像我们小时候过年的时候会期待家长给买新衣服一样,他那种孤注一掷却失望 的情绪,真的太让人难过,他甚至将去哥哥家做成了自己计划中的一部分,可见这件事对他有多么重要。
⑧ 电影《香水》影评
影片开场是巴黎街市的景象,十八世纪的香都弥漫着难以想象的恶臭。巴蒂斯特.格雷诺耶出生在鱼摊旁。他矮小、丑陋,身上没有任何气味。除了这一奇怪的缺陷,格雷诺耶还拥有常人不及的嗅觉。他出生后被母亲抛弃在垃圾堆里,幼年时加拉尔夫人把他作价出卖,从此,格雷诺耶以苦力活儿果腹。
为人唾弃的岁月里,他梦想复制自己嗅觉内的所有气味,使它们在自己的身上得以再现。巴黎是格雷诺耶的寻香园,在塞纳河边,他邂逅了纯美善良的少女香。为了占有它,格雷诺耶掐死了卖水果的姑娘。那天夜里,他隐约意识到自己命运的方向。
格雷诺耶向香水制造商巴尔迪克展示天赋。巴尔迪克将他买到香水作坊当伙计。格雷诺耶开始为自己试制各种香水外衣,他的香水拯救了作坊并使它显赫一时。在这段日子里,格雷诺耶发现,气味是唯一能够深入心脏的东西。它在那里把爱与厌恶区分。谁掌握气味,谁就掌握了人们的心。
获得自由的格雷诺耶隐居山上,滤尽往昔令人作呕的气息后,他游历法国寻找操控人们行为意识的香气。在一个港口小城,格雷诺耶再度从少女们的身上发现了它。
格雷诺耶杀死26个少女,提取她们尸身上残存的体香制造最蛊惑的香水。这瓶具有魔幻色彩的香水,使他把处决自己刑场变成了获取爱戴的狂欢地。当小城为格雷诺耶心旌摇荡的时候,格雷诺耶返回巴黎。在他的出生地,人们被一瓶奇异的新香迷惑,疯狂地把格雷诺耶撕成肉块,分而食之。
《香水》的上映让人们期待了二十年。二十一年前,Süskind的小说被文学界称为“一个重要的事件、一个奇迹.无数制片商争购电影版权,隐居的 Süskind认为,只有《闪灵》和《发条橙》的导演斯坦利.库布里克才能执筒。1999年,库布里克去世。3年后,Süskind的好友、曾拍摄《玫瑰之名》和《帝国陷落》的伯恩德.艾钦格以千万欧元求得《香水》电影版权。《罗拉快跑》的导演汤姆.提克威获得伯恩德.艾钦格青睐执导本片。
根据畅销名作拍片,这种方式为电影增加了神秘感与亲切感。面对大批书迷,伯恩德.艾钦格说:“我们用意象、声响和音乐的力量。营造出气味的氛围。” 为了忠实于原著的场景,他辗转德国、西班牙、意大利、法国,用17吨的鱼和动物尸体淹没外景地的街道,20几次的鼻部特色和深呼吸镜头、以慢镜调动近千名群众演员再现香水魔力下纵欲狂欢的人群…..不过,汤姆.提克威用须后水代替了重要的道具:香水。
影片保持了汤姆.提克威影片一贯的节奏感,流畅的镜头语言、精良的布景与服装、一切都在努力趋向于作品。趋向于各种气息。达斯汀.霍夫曼扮演的巴尔迪克和本.卫修的格雷诺耶同样可圈可点,尽管如此,书迷觉得电影与自己意想中的《香水》有不同程度的出入。
书中细节的省略使观众抱怨不已,对人物命运和内心世界的描绘,也同原作存在差异。可以看出汤姆.提克威希望角色拥有情愫,但在Süskind的笔下,格雷诺耶象香水瓶一样透明和冰冷;配角的命运处理体现出导演和作家对生活的认知区别--不是所有的恶都会得到惩罚,更多的时候它们继续生存。令恶毁灭的电影是一种理想,描绘它们存在的小说是一种现实。
走出影院,下午特有的软香和着清冽扑面而来。如果把看电影和读原作都比做寻香,在语句描绘的氛围里,人们每过一个街口都要停下来、每闻到一种气息都要回味良久。光影作品更多是视听的快速冲击,它再现拍摄者对原作的理解。因为两者之间无法彼此抵补的区别,小说是一瓶香水,电影是永远的寻香人。