⑴ 卓别林的作文用英文写短一点的40个字左右
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·卓别林出生于伦敦.他父亲是一个演员,
虽然不是什么大人物,但也表现不俗.他母亲哈那是一位出色的喜剧演员,嗓音甜美动人.虽然谈不上富裕,可戏院的工作毕竟能使卓别林一家过上安逸的生活.
然而,幸福的生活并不长久,父亲对酒的嗜好缓慢地、但却毫无疑问地破坏着他的婚姻生活.这桩婚姻最终以离婚而宣告结束,但哈娜是不会轻易认输的.没有母亲,查理·卓别林充其量也只是维多利亚时期伦敦城里又一位穷困潦倒的儿童.她不仅想方设法让查理和弟弟西尼吃饱穿暖,保持干净整洁,而且动足脑筋变换方法,让他们过得欢乐愉快.她有时站在窗边,注视行人,通过行人的外表和举止猜测他们的性格,继而仿造故事,逗查理和西尼乐.查理继承了母亲的这点,而这也正是他一生用之不尽的财富.
即便在处境最为艰难的时刻,查理也始终坚信自己蕴藏着特殊的才能.他鼓足勇气,前往伦敦一家高级的戏院经理商应聘.竟获得新编的《歇洛克·福尔摩斯》剧中的小佣人比利一角.1903年7月27日《歇洛克·福尔摩斯》新剧在气势恢宏的帕维廉剧院首演,不久外出巡回演出.查理似乎一夜间发生了巨变,他好似找到了立志从事的事业.
1908年,19岁的查理堕入情网.他所钟情的海蒂·凯年仅十五.在他们之间的恋情处于萌芽状态时,海蒂的父母果断地终止了它的发展,然而,海蒂迷人的丰采竟使查理终生难忘.
1910年,卓别林所在的卡诺戏班赴美国作一年一度的巡回表演,他被认为是“当地美国人曾经见过的最为出类拔萃的哑剧表演艺术家之一.当他们抵达费城时,一纸电文接踵而至,把替换基石电影公司的一位明星的机遇赐于了他.
电影业是与查理同年诞生的.但当时人们普遍以为电影业充其量只昙花一现的时尚,它不可能替代现场真人表演.公司给他几周观摩的时间,他站在一旁,边观察、边学习,下定决心要驾驭这个新生事物.这个新兴的行业给他带来了赚钱和走向成功的机会,也将有助于他从对戏剧观众喧嚷起哄的担忧中解脱出来.
1914年2月,查理主演的处女片上映,影片取名《谋生》 尽管此片由于导演的无能而令查理大失所望,但观众还是喜爱这部片子的.之后他又拍了几部片,增长了不少学识.公众喜爱他,并且电影销售商索要越来越多的卓别林的片子,在极短的时间内,他成了电影界的重要人物
⑵ 求一篇关于卓别林电影《城市之光(city lights)>的英文观后感，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 卓别林<<摩登时代>>读后感
摩登时代观后感 开头利用深沉的交响，奠定了影片深沉的主题。 第一个画面是一群绵羊，这一画面我反复看了好几遍，因为我的脑海瞬间搜索到了英国圈地运动。 接下来出现的了Subway和Car，以及后面的剧情让我了解到《摩登时代》的背景是三十年代资本主义走向垄断的时代，机械大工业高速发展，资本向少数垄断财团手里集中。 而卓别林扮演的一个无产阶级工人角色，随着这场工业和社会变革洪流到来的是大量沦为机器工业文明附庸，在技术革命的旋涡中迷惑，然后成为这个机器社会生产线上的螺丝钉，微不足道，随时可以被无情抛弃。《摩登时代》作为表现20世纪初社会化大生产的最为著名的影片，为经济危机给广大工人带来的痛苦而大声呐喊呼号。 喜剧大师卓别林以独特的视觉表现，笑中带泪、喜中带悲的诠释方式，辛辣尖锐的讽刺和揭示出在当时的社会大环境下，工人饱受资本家欺压剥削的严酷现实，以其卓越的表现手法向世人展示了一幅代表千百万失业者遭遇的生活画像。 抓住资本主义的本质，进行深刻而激烈的揭露，把资本家最大限度的榨取剩余价值以及资本主义生产方式对无产阶级的压榨和摧残的丑恶面目，展现的淋漓尽致！ 电影深刻地反映了当时的社会现实，它让人们在笑声中看到资本主义黑暗以及不合理的社会制度。 通过对电影里一些让我印象深刻的场景的分析，我渐渐更深层次的了解。一工厂老板不断的苛求加快生产线的速度，工人只好忍气吞声。主人公查理被机器卷进卷出的镜头，以及被流水线弄得变成麻木机械的“工具人”，竟然想要在人的鼻子、钮扣上拧紧螺母的镜头。一开始的大钟内部齿轮运转的特写，便清楚描述了当时社会里的压榨荒唐的行为。二资本主义国家残酷、黑暗的现实，资本家无休无止的压榨，已使许多人民无法生存，流浪街头，沿街乞讨，连工人的吃饭时间都想剥夺，因此发明了吃饭机器，让工人在吃饭时能腾出手脚来继续干活……种种做法的最终目的都只是为了获得更多的剩余价值，因为剩余价值才识资本家最终想要获得的就是更多的剩余价值。三在码头偷香蕉的美丽女主角，得到香蕉后脸上天真快乐的表情，逃跑时俏皮的动作。以及她与家人间的互相鼓励，互相安慰，相亲相爱的场面。 家人是我们永远的依靠，家永远是我们最温暖的避风港。怪不得，当时的人们那么希望能拥有一座房子，即使房子表面上看起来并不坚固，但在它的主人心里，房子就像家一样，是最牢固可靠的。 男主角为女主角擦干眼泪，然后屏幕上出现了"Buck up-never say die.We'll get along!"。男女主人公相互鼓励，一起微笑地携手走向前路…… 很多人为这一幕所感动、赞美，我个人倒认为这种从悲剧里产生的希望才真的是讽刺的悲剧，对黑暗的臣服和逆来顺受使人永远背离光明。 所谓的“摩登时代”是一个十份特殊的时期，两次工业革命的相继发生完成，工业社会彻底取代了农业社会，人类从农耕文明迈向工业文明，社会化大生产成为生产的主要方式。 在这一历史转型期中人们忙乱而无助，资本家私下伪善的画皮露出惟利是图的本质，劳动者则顺理成章的成为资本家攫取剩余价值的工具。他们都身不由己的践行着人类社会发展的规律。 此时此刻，我也想到了我们，生活在这么一个“摩登时代”，忙碌紧张的工作学习生活。 我们作为这个时代社会洪流里的一份子， 我们人类共同的理想就是为了真理自由的或在这个世界上，为了美好的未来一同努力。 《参考一下吧！》
⑷ 急求一篇卓别林电影观后感 英文 100字左右
摩登时代观后感
"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 用英语表达对卓别林的评价
对卓别林的评价：
Chaplin was not just a genius, he was among the most influential figures in film history.
卓别林不仅仅是天才，也是电影史上最有影响力的人物之一。
⑹ 急需一篇有关于介绍“查理卓别林”的文章，要求是英文的介绍，侧重于他对世界影坛的贡献急！！！
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，查理娶女主角丽苔·格雷为妻。这次婚姻与第一次同样不够明智。面对个人生活的风浪，查理坚强不屈，接着开拍新片《马戏团》在这部片子里，拍了七百多次卓别林走钢丝的镜头，而最后用于影片的仅有几分钟。《马戏团》问世后，他马上开拍《城市之光》以后数年间，查理完成了最出色的影片中的三部，即《城市之光》（1931）、《摩登时代》（1936）、和《大独裁者》（1940年）。
第三次婚姻失败以后，1942年他遇识了一位年轻的女郎，她是美国著名剧作家尤金·奥尼尔的女儿。她才17岁却与查理相亲相爱，难舍难分。她的名叫奥娜。1945年的美国已弥漫开对共产主义的疯狂仇视和困恼。卓别林成为这次迫害的牺牲品。就是在这种受迫害的环境中，他着手摄制一部新影片，这部影片就是《舞台生涯》它讲述一位年迈的戏院演员协助一位年轻女郎取得成功的故事，反映了他童年时代熟知的伦敦概况和演艺生活。50年代初美国的反共狂热掀起了新的、更为癫狂的咆哮。在赴伦敦举行《舞台生涯》首映典礼的路上，美国司法部长宣布禁止卓别林再度入境美国。他成了一位流亡者。
查理在伦敦受到盛情欢迎，被兴高采烈的人们捧为天才。然而在美国，对他的恶毒攻击仍在继续。查理无法返回，于是合家迁居瑞士。1953年1月，他们在坐落于维也纳威城科西尔的漂亮宅院里定居下来，查理在那里度过了余生。
尽管美国对查理横加指责，他却拥有一个团聚的家庭，还享有世界其他各国的赞誉。1954年，麦卡锡及同伙，已经变得声名狼藉，因为他们一直作伪证的事被揭发出来。于是美国又向查理展开了欢迎的双臂，给予他的各种奖励也纷至沓来。
1975年86岁前，过去曾是维多利亚时代伦敦“儿童济贫院”小孩之一的查理，被英国女王伊丽莎白二世加封爵位。
一生中异常勤奋地工作、取得辉煌成就和历经艰难困苦的查理，好似步入了人生黄金时代。尽管他身体渐趋虚弱，但仍一如既往地热爱工作。
他说：“生活的目的在于工作，因此我热爱生活。”
1977年圣诞节除夕夜，卓别林家里子孙满堂。家里人将查理安顿在他自己的房间里，让门敞开着，以便他能聆听到回荡在别墅内的快乐祥和、热闹非凡的喜庆之声。
第二天早晨，该唤醒他并祝他圣诞快乐的时候，他被发现已在睡眠中安然溘世，享年88岁。
对一位曾给世界人民带来如此之多的欢笑和鼓舞的人而言，这一天无疑是悄然谢世的好日子。
⑺ 电影卓别林的悲喜人生的观后感英语
"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.