动画片版罗密欧与朱丽叶电影观后感

A. 请写一篇英文的罗密欧与朱丽叶的读后感或者观后感

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罗密欧与朱丽叶的读后感（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. 罗密欧与朱丽叶现代版影评

本人观感： 昨天一个人躺在床上听ROMEO & LULIET的电影原声，极苦极苦，冷到心底的绝望，好象心里装着一个海洋的泪水却哭不出来。6年前，盛行什么后现代，我合着什么《哈姆雷特后现代版》一古脑网罗了，看完觉得是烂片。激情说的上，后现代差的太远了吧？难道罗密欧穿件夏威宜的花衬衫，叼根香烟，挎把手枪，开辆二手车就后现代了？当然不可否认，这部电影本身提供了一个独特的视角来重新审视莎翁，拷问爱情。片头西装革履的罗密欧在海边忧郁地念着那首后现代感的诗“我轻着你的轻，我重着你的重”（字幕翻译）就标志着一场视觉颠覆的开始。一切只是形式，打上时代烙印的化妆舞会也罢，火拼也罢，内核还是爱情。只是在现代，更多了专属于青春期的躁动和颓废。“恨灰中燃起了爱火融融，要是不该相识，何必相逢！昨天的仇敌，今日的情人，这场恋爱怕要种下祸根。”人们总是试图在现代繁复的社会关系中寻求一种理想的爱情模式。即使罗密欧与朱丽叶活在当下，仍然免不了一场悲剧。“古往今来多少离合悲欢，谁曾见这样的哀怨辛酸！”也许只有死亡才能拯救一切。 有几个镜头十分喜欢： 在化妆舞会上，穿着银色盔甲的罗密欧邂逅了天使装扮的朱丽叶，两人隔着半透明的金鱼缸用试探的目光看着眉目如画的对方，絮絮地讲着一些旁人无法听懂的呓语，音乐应景一般响起。爱情伊始正是这种迷幻朦胧的感觉，隔着金鱼缸。 罗密欧与朱丽叶小教堂里私定终身，穿着精致小礼服的里奥纳多（19）牵着克莱尔·丹丝（17）的粉嫩小手，一脸神圣地朝牧师走来，看上去真的好小好可爱，象在办家家酒。（莎翁原著中他们只有14岁） 最后一个印象深刻的画面是罗密欧与朱丽叶的恋情曝光后，罗密欧被驱逐出了维洛那城，他象一个落暮的牛仔坐在旷野里抽着烟，花花衬衫和他忧郁的面容都被夕阳衬地绯红，沉默半晌的长镜头，有着说不出的绝望。 至于演员，大多是本色演出，本来这就是一个现代美国式的故事。里奥纳多演技平平，反正年轻就是资本。克莱尔·丹丝却让我大跌眼镜，因为刚看过《小妇人》（1994年版），实在无法把那个惨兮兮的小妹妹（爱弹钢琴早逝的那位）与眼前的朱丽叶联系到一起。其实她不甚美，但是表演很有灵性，有晋升一级演员的潜质。后来的《女孩天堂》也不赖，星运不佳，近年好象只看到在《时时刻刻》里露一小脸。此外，朱丽叶的母亲及一些绿叶的表演也很出彩。

记得采纳啊

C. 爱情亲人二选一，太残忍，电影《罗密欧与朱丽叶》的哪些细节与原著不同

D. 电影《罗密欧与朱丽叶》相比原著来说好看吗

《罗密欧与朱丽叶》因其在文化史上的特殊地位，曾经有很多人对该题材进行影视改编，改编出的作品质量也褒贬不一。这些改编版本中，基本上维持了原本的爱情主题，也将爱情悲剧整个过程中的重要情节进行了再现。在多个版本中，最为人熟知的是由小李子莱奥纳多主演的版本，但同时也是最具有争议性的一个版本，由于场景改变、台词文学性流失等原因，使得很多人说不如原著好看。

只有做出变化，才能真正给读者以新鲜感。但古代经典改编本身就是一件费力不讨好的事情，完全跟原著一样，则一点刺激都没有，因此，很多人认为《罗密欧与朱丽叶》的改编电影不如原著好看。如果改编过多，原著党又会群起而攻之，怎么都难以满意。也是因为此，所以剩下几个版本的《罗密欧与朱丽叶》电影，都几乎淹没在潮水般的电影世界了。

E. 莎士比亚四大悲剧 罗密欧与朱丽叶的影视作品 观后感 每个800字 已有《哈姆莱特》的

乐观主义的悲剧 ——《罗密欧与朱丽叶》评论赏析这部标以“后现代激情”的最新版《罗密欧与朱丽叶》实质上是借用莎士比亚的故事框架来虚拟现实的一部移花接木之作。莎士比亚那穿越历史的浪漫内质在两个世纪后被世人重新忆起，但世人却大多不知莎士比亚为何人。经由编剧克雷格·皮尔斯和导演巴兹·卢赫曼的苦心经营，加之莱昂纳多·迪卡布里奥和克莱尔·丹丝的出色演出，这部影片成为一部典型的现代时式的青春偶像片。克莱尔·丹丝使朱丽叶具有了一种现代女性独立坚毅的自主精神，莱昂纳多·迪卡布里奥则为罗密欧注入了属于现代青春少男特有的狂放不羁和敏感气质。导演巴兹·卢赫曼努力使置身于荒芜中的浪漫主义诗情放射出零星的微光，使其指引观众，在慵懒的吉他和沙哑的鼓点之后，是迪卡普里奥的独白：为何爱是这样痛苦，仇恨的爱，哀伤的喜悦，沉重的轻……现实生存的两难和超于众生之上的神秘气息在影片的低语处弥漫…我知道有首好听的名曲叫“罗密欧与朱丽叶”，也知道这是个爱情故事，是莎士比亚的名著。尽管知道它是个悲剧，可说实在，在看本片前，我并不知道它究竟有多“悲”。让我无法接受的是，罗密欧与朱丽叶的爱情悲剧，并非是我曾朦胧地、肤浅地认为的那样——不过是封建礼教的牺牲品。直接导致两人彼此最终的“殉情”，竟然是阴差阳错的意外“事故”——如果罗密欧与朱丽叶在天有灵，也一定会“憾”死的，就象我很想从坟墓里揪出莎士比亚，质问他为何要编出这样令人断肠的剧情？而事实上这实在不能怪莎士比亚，因为我们有理由相信，罗密欧与朱丽叶的“憾事”是有其生活原型的。如果你也曾象我一样，对罗密欧与朱丽叶的故事还只是朦胧的认识，建议你通过此片完成对一部名著的解读。在我看来一场爱情，无论如何我不能接受这样“锥心”的结局。《罗密欧与朱丽叶》是莎士比亚早期创作的著名悲剧。它诗意盎然，热情充沛，洋溢着浓郁的浪漫气息和喜剧氛围。其艺术风格与作家早期创作的大多数喜剧相一致，被人们称为抒情悲剧。悲剧的冲突是罗密欧与朱丽叶的恋情与两个家族间的仇恨和对立，它表现了自由的爱情与封建势力之间的尖锐的矛盾冲突。故事的发生地维洛那城实际上是英国16世纪末伊丽莎白女王鼎盛时期社会现实的艺术再现。一方面以亲王为代表，象征了王权统一的力量，它受到广大市民的拥护，另一方面是贵族蒙太古家族和凯布莱特家族世代的积仇结怨，它代表着从中世纪延续下来的相互争夺的封建集团的势力。但时代在前进，这两大世仇的新一代人竟在一次舞会上一见钟情，彼此相爱，于是家族的怨仇与个人爱情之间便形成了尖锐、巨大的戏剧冲突。罗密欧与朱丽叶都无视于家族的仇怨，他们轻蔑地觉得，妨碍他们结合的只是枉具虚名的姓氏。朱丽叶曾说：“名字有什么?我们叫玫瑰的那种花换成别的名字还不是一样芬芳。罗密欧要是不叫罗密欧，同样会那么可爱完美，这本来和名字没有关系。罗密欧，抛弃你的名字吧，为了换取跟你本身毫无关系的空名，把我整个儿拿去吧。”罗密欧对于姓氏的态度更为激烈、率直：“你只要把我叫做爱，我就重新受洗，重新命名，从今以后，永远不再叫罗密欧。”真正的爱情，使他们变得勇敢而无畏，他们背着父母到劳伦斯神父的寺院里秘密成婚，最后他们为了反抗封建家族势力和封建的包办婚姻不惜以死殉情，谱写了一曲最为悲壮动人的爱情颂歌。戏剧的结尾，蒙太古和凯普莱特两家终于因为这对情人的死而抛开旧仇，言归于好，并且用纯金在维洛那为罗密欧与朱丽叶铸像。这意味着两个年轻人为之献身的理想胜利了。他们将成为未来人们的典范。老凯普莱特在痛悔中承认：这对情人是“我们的仇恨的可怜的牺牲品”。然而剧中死去的不止这两个，牵涉到的也不止这两家，正像维洛那亲王最后说的：“大家都受了惩罚”。但罗密欧与朱丽叶悲惨的死亡，同时又证明了他们所代表的人文主义新价值观念的胜利，使社会摆脱了无谓的仇恨和纷争。祸患无穷的世仇消解了，仇人转变而和好了，在维洛那，人们将从罗密欧与朱丽叶的悲惨故事中学到极为重要的一课：爱情比仇恨更有力，甚至死亡也不能把它摧毁征服。从这个意义上说，《罗密欧与朱丽叶》是一部乐观主义的悲剧。莎士比亚曾明确地称《罗密欧与朱丽叶》为命运悲剧。但这部作品与莎士比亚以后创作的悲剧有着明显的不同。它除了强烈的爱恋这单一的情致外，它几乎都是出乎难以解释的偶然。里格尔曾明确地说：“在《罗密欧与朱丽叶》里，外在的偶然事故粉碎了精明能干的神父的干预，就导致两位有情人的死亡。”以黑格尔观点为基础评论莎士比亚悲剧的布拉雷德也说：“罗密欧与朱丽叶的命运先是向上发展，在他们的结合中达到顶点，然后就因为双方家族的反对开始衰落。家庭的反对加上偶然事故造成悲剧的结局，但随即又转化为由悔恨导致的和解。”仔细研读剧本，确实如此。罗密欧与朱丽叶相见是偶然：为凯普莱特家族举办的舞会通知贵宾的仆人竟不认识通知单的名字，罗密欧为他念诵时知道了这一消息，为了见到自己迷恋的美人罗瑟琳，罗密欧才决定冒险参加舞会，不想却见到了娇美、清纯的朱丽叶，两人一见钟情，成为悲剧的起因。罗密欧失手杀死朱丽叶的表兄提伯尔特也是偶然：罗密欧的好友茂丘西奥和提伯尔特口角，罗密欧的劝阻，招致提伯尔特的咒骂和挑衅，罗密欧一再退让，激怒的茂丘西奥和提伯尔特拔剑相击，被提伯尔特刺死。悲愤的罗密欧冲上拼击，杀死了提伯尔特，于是被大公判决逐出维洛那城，成为悲剧情节发展的关键性的动因。罗密欧最后服毒还是偶然，劳伦斯神父设计朱丽叶服药昏睡假死，然后送信通知流放的罗密欧，使两人一起远走他乡。但信未送到罗密欧先得到朱丽叶死的传闻，遂秘密潜回维洛那，劳伦斯神父得知消息后，匆忙赶往墓地，而罗密欧已经进了墓穴，服毒死在即将苏醒的朱丽叶身边，这一切成为导致悲剧性结局的最后的直接原因。总之，《罗密欧与朱丽叶》中，是一系列偶然性的情节，使家族的世仇与真挚的爱情构成了矛盾，并不断地激化着矛盾，使矛盾的解决无法采取圆满的方式，只能选择了最后的毁灭。所以这部戏剧留给人们的首先是对于本可避免而又未能避免的悲剧结局的遗憾，是对于殉情所导致的家族和解的欣慰。却不是像他中期创作的那些著名的悲剧一样是对于人类社会和人类本性当中的必然性悲剧因素的思考。

F. 请写一篇英文的罗密欧与朱丽叶的读后感或者观后感(不太长，三段够了)

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.

罗密欧与朱丽叶英文读后感(双语)

"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.

《罗密欧与朱丽叶》是一部具有喜剧因素的悲剧，反映了莎士比亚早期创作的特色，他笔下的罗密欧与朱丽叶的爱情，充满着文艺复兴时期人文主义者的浪漫情调，是莎翁风格比较独特的一部剧作。全剧以美好的毁灭揭示了悲剧的主旨，最后作者留下一个乐观的结局：蒙太古和凯普莱特两家族和好，两个年轻人的牺牲换取了他们理想的胜利，他们俩的纯金塑像将永远矗立在维洛那城。这既是作者对罗密欧和朱丽叶的爱情力量的赞颂，也是该剧作为悲剧能体现明朗乐观的基调的一个原因，更是作者作为一个文艺复兴时期人文主义者对人类追求爱情和幸福，追求发展和进步的信心的体现。

G. 求一篇电影《罗密欧与朱丽叶》影评

1996年由美国20世纪福克斯公司出品的影片《罗密欧与朱丽叶》是根据莎士比亚的同名悲剧改编的。原剧中的故事发生在意大利古城维洛那，而电影中的维洛那却是一个繁华热闹的现代都市。影片中的加油站、汽车、高楼大厦这些现代文明的标志，无不在提醒观众，电影中的“维洛那”实际上就是自己生活的当代社会。片中惊心动魄的枪战，警用直升机，带霓虹灯的十字架，更让人们几乎忘记了这个故事本来是发生在400多年前的意大利小城。
影片借用了原著的故事框架，表现的却是现代都市青年速配式的爱情及其矛盾性。影片属于后现代主义电影的范畴，在风格上，影片借鉴了许多美国类型片，如警匪片、惊险片等的表现手法，尽管这些类型似乎与莎翁笔下的那个爱情故事在风格上有些风马牛不相及，但它们恰恰都是20世纪90年代的青少年观众非常熟悉而感兴趣的。一部影片往往也是一个时代的产物，影片的这种借鉴除了能从一个侧面提醒观众注意这部影片诞生的那个时代特色，同时也强化了导演所企望达到的效果：影片不是单纯的莎士比亚悲剧的翻版，而是在一种新的场景中对莎剧的全新释义。
对于这样一部改编自经典又极大程度地背离了经典的另类电影，有些观众纯粹是抱着好玩的态度去观赏的，作为一种文化消费方式，这无可厚非。可能还有些人觉得导演有些“恶搞”，是对神圣经典的亵渎，这在后现代文化语境下的今天看来未免显得不够大度，对此，我们也没有必要去严词反驳，毕竟对任何一部作品的读解都会有正反两方面的观点，更何况，该片本来就不是以还原名著为目的的，它表达的只是导演对原著的另一种理解和阐释。

H. 缃楀瘑娆т笌鏈变附鍙惰傚悗鎰

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