⑴ 求英文版电影《简爱》
已发送，请查收。如没看到请查看你的垃圾邮箱，看看是不是被拦截了。有问题请追问，谢谢
⑵ 在哪可以看到英国电影简爱的英文影评
英国作家Charlotte Brinte的传世经典，自问世以来不断地被搬上舞台和荧屏。电影人对这个故事颇为热衷，从早年的奥逊·威尔斯 Orson Welles（《公民凯恩》）版本到近期的威廉.赫特（《大寒》）版本，在历时半个多世纪以来，伴随着7、8个版本简爱影片的诞生，不同的电影人在各自的作品中用自己的角度阐述对作品的理解，同时也推动了这部经典名著在全球的普及。
1970年的George C. Scott饰演的版本历来被认为是所有版本中改编得最恰到好处的－－既忠实于原著精神，且故事结构更为紧凑，爱情主题更加突出。苍凉静谧的英国荒原，神秘诡异的古堡，阴郁迷离的气氛，加上“老戏骨"George C. Scott的表演，将一个维多利亚时代歌特式的爱情故事演绎得凄美动人。George C. Scott的表演无疑是本片的一大看点，他的激情演绎使其他版本的Rochester黯然失色，其锋芒直逼早年的Orson Welles。而Susannah York外表沉静，含蓄内敛的风格也被评为最接近原著简爱的精神气质。本片的主题音乐更是大手笔，它出自著名音乐人约翰.威廉姆斯之手，这一主题曲把本片的爱情主题推向高潮，更成为该版本的标签，至今仍在不同的音乐会上被演奏。
对于中国观众，这一版本的意义尤为特殊——它被无数次地制成录音剪辑，在全国各地的电台一播再播：它被制成各种版本的录音带，被“听迷”们争相购买，听这部电影着迷的人甚至比有机会看这部电影的观众还要多。对于出产了无数配音电影精品的上海电影译制厂，《简爱》堪称精品中的精品。在观众每一次选出的配音作品中，《简爱》无不位列三甲。它从台词翻译到演员表演，无不成就了一种典范。这是配音大师邱岳峰与李梓的颠峰之作，他们用声音拓展了新的表现空间，丰富了电影这一“视听”的艺术在听觉上的美好体验。邱岳峰塑造的罗切斯特，或愤懑，或柔情，或倦怠，或狂暴，无不让人动容。而李梓演绎的简爱在不愠不火的声调里展现出细腻的情感变化，或温婉，或坚定，也在更深层次上丰富了简爱人物的形象。他们的声音有表情，有形象，有情感，一寸一寸都是鲜活的。
本片是20世纪70年代初拍摄的小成本电视电影，虽然由明星乔治·斯科特担纲主演，但国外观众对其评价不高，在国外电影市场基本上没有什么影响力，是上海电影译制厂表演艺术家们的精湛技艺使得她面貌焕然一新，成为观众心目中外国电影经典之作。经过邱岳峰和李梓主配之后，多少观众为之倾倒，甚至有人在寒冷的冬夜刚看完这部片子步出影院，便满怀激情吟诵起罗切斯特和简爱的对白来。简爱的爱情观、价值观、人生观对不少女性产生了巨大的影响，孕育了一批中国式的女权主义者。大伙欣赏之余，还找来原著细细品读、比较 。
这是一部特殊的电影，观众可以闭上眼睛，倾听这来自灵魂的声音。
如果问译制片里有哪部影片可以称得上是“圣经”的话，那一定就是她了。
⑶ 简爱电影的英文影评。
A fast hour and a half
of psychological doom and gloom, and glimmers of happiness through true
love trounced by the realities of 1840 England. It's all pretty amazing
stuff, and you have to see it to believe it, those dark clouds and
sprawling stone buildings.
Yes, Orson Welles is the lead male here, Mr. Rochester, and he's a
physical presence, for sure, but a stiff one. As just one slightly
unfair comparison, watch how Lawrence Olivier handles being lead male
in a similar era (1939) Bronte film, Wuthering Heights. It's unfair
because this earlier movie, directed by William Wyler, is even better
than Jane Eyre. But here we have an actress who wowed the world in the
masterful Rebecca in 1940, and with Olivier himself, and if you see
this Hitchcock movie, based on a Daphne Maurier book, you'll see a
weirdly too similar echo of Charlotte Bronte's plot, complete with
mysterious master of the house and a big fire at the end.
This big mix and match is meant only to say that this kind of movie,
this kind of plot, reached a fever pitch in the early 1940s and
proced three masterpieces. You should see them all, and see the
influences back and front and sideways. Great stuff, with Jane Eyre the
third in line, made by the lesser known British director Robert
Stevenson (who had this one early success and then the other one, Mary
Poppins, of all things). But it was based on an Orson Welles radio
version of the story, which you can feel in the narrated lines with
Joan Fontaine's voice. You sense Welles had a hand in the whole feel of
the movie, the camera angles in the early scenes (looking up or down at
the child), and the overall Gothic excess and fog.
Great stuff to just feel and absorb.
⑷ 关于简爱电影的英文字幕
那么多版本，去射手找
⑸ 电影简爱的英文对白
夏洛蒂·勃朗特的《简爱》我已经看了N遍了，改编成电影以后也欣赏了很多遍。尤其是这段由李梓、邱岳峰配音的精彩对白，多年来一直钟情，下面就一起来欣赏一下吧！
罗切斯特：还没睡
简：没见你平安回来怎么能睡！梅森先生怎么样？
罗：他没事！有医生照顾。
简：昨儿晚上你说要受到的危险，过去了？
罗：梅森不离开英国很难保证！但愿越快越好！
简：他不象是一个蓄意要害你的人！
罗：当然不！他害我也可能出于无意！坐下。
简：格雷斯·普尔究竟是谁？你为什么要留着她？
罗：我别无办法！
简：怎么会~
罗：你忍耐一会儿，别逼着我回答！我，我现在多么依赖你！
唉，该怎么办？简！有这样一个例子，有个年青人，他从小就被宠爱坏了，他犯下个极大的错误。
不是罪恶，是错误，它的后果是可怕的，唯一的逃避是逍遥在外，寻欢作乐。
后来他遇见个女人，一个二十年里他从没见过的高尚女人，他重新找了生活的机会，可是世故人情阻碍了他，那个女人能无视这些吗？
简：你在说自己？罗切斯特先生？
罗：是的！
简：每个人以自己的行为向上帝负责，不能要求别人承担自己的命运，更不能要求英格拉姆小姐！
罗：哼！你不觉得我娶了她，她可以使我获得完全的新生？
简：既然你问我，我想不会！
罗：你不喜欢她？说实话吧！
简：我想她对你不合适！
罗：啊哈~，那么自信！那么谁合适？你有没有什么人可以推荐？哼！唉~
你在这儿已经住惯了？
简：我在这儿很快活！
罗：你舍得离开这儿吗？
简：离开这儿？
罗：结婚以后我不住这儿了！
简：当然！阿黛勒可以上学，我可以另找个事儿。……我要进去了！我冷！
罗：简！
简：让我走吧！
罗：等等！
简：让我走！
罗：简。
简：你为什么要跟我讲这些？她跟你与我无关！你以为我穷，不好看，就没有感情吗？
我也会的！如果上帝赋予我财富和美貌，我一定要使你难于离开我，就象现在我难于离开你。
上帝没有这样！我们的精神是同等的，就如同你跟我经过坟墓将同样地站在上帝面前。
罗：简~
简：让我走吧！
罗：我爱你！我爱你！
简：不！别拿我取笑了
罗：取笑？我要你！布兰奇有什么？我对她不过是她父亲用以开恳土地的本钱！ 嫁给我！简！说你嫁我！
简：是真的？
罗：唉！你呀！你的怀疑折磨着我！答应吧！答应吧！
简：我爱你,爱德华.（简依偎在罗切斯特的胸前，罗切斯特紧紧地抱住了她）
罗：上帝饶恕我！别让任何人干扰我！她是我的！我的！
⑹ 请问英文版《简爱》电影中哪个片段比较经典
fijdhfyvvgfn jffaadfsdfjadjkfhafjhdsflkdlf;k(暗语)
⑺ 求电影简爱，双语有字幕版（中英对照），最好是1996年版
你下载个风行 在里面搜就行
⑻ 电影《简爱》中简答应求婚的英文台词
JANE:Not the voyage,but the distance,and then the sea is such a barrier.
Edword:from what,Jane?
J:from england,sir.and from Thornfield.and...
E:sometimes i have the stangest feeling about you.especially when you're near me as you are now.it feels as though i had a string,tied here under my left rib where my heart is.tightly knotted to you in a similar fashion.and when you go to Ireland,with all that distance between us,i'm afraid this cord will be snapped.and i shall bleed inwardly,but you're sensible,you'll forget...
J:never!I'll never forget.i wish i'd never been born.Iwish I'd never come to Thornfield.
E:There are other houses just as fine.
J:How can you be so stupid?How can you be so cruel?I may be poor and plain, but I'm not without feelings!It's not the house but the life I lived here.I was not trampled on,I was not excluded.I was treated as an equal.
E:And so you are,Jane.And so...And so...
J:Yes so, sir.And yet not so, for you're a married man.or as good as married.Led me go!
E:please, stil...Don't struggle so...You're like a wild bird clawing at its cage.
J:I'm not caged bird,I'm a free human being.Independent with a will of my own.
E:Then stay.Stay and marry me.
J:How dare you make fun of me?
E:I mean what I say.Stay at Thornfield.Be my wife!
J:And what of Miss Ingram?
E:Miss Ingram,I don't love MissIngram,nor does she love me.Jane, you strange,almost unearthly thing.I love you as my own flesh.I beg of you to marry me.Say,"Edward,give me my name."Say Edward,I'll marry you."
J:Yes.Yes...Yes...
⑼ 急求《简爱》《双城记》电影英文版对白
《简爱》经典对白
夏洛蒂·勃朗特的《简爱》我已经看了N遍了，改编成电影以后也欣赏了很多遍。尤其是这段由李梓、邱岳峰配音的精彩对白，多年来一直钟情，下面就一起来欣赏一下吧！
罗切斯特：还没睡
简：没见你平安回来怎么能睡！梅森先生怎么样？
罗：他没事！有医生照顾。
简：昨儿晚上你说要受到的危险，过去了？
罗：梅森不离开英国很难保证！但愿越快越好！
简：他不象是一个蓄意要害你的人！
罗：当然不！他害我也可能出于无意！坐下。
简：格雷斯·普尔究竟是谁？你为什么要留着她？
罗：我别无办法！
简：怎么会~
罗：你忍耐一会儿，别逼着我回答！我，我现在多么依赖你！
唉，该怎么办？简！有这样一个例子，有个年青人，他从小就被宠爱坏了，他犯下个极大的错误。
不是罪恶，是错误，它的后果是可怕的，唯一的逃避是逍遥在外，寻欢作乐。
后来他遇见个女人，一个二十年里他从没见过的高尚女人，他重新找了生活的机会，可是世故人情阻碍了他，那个女人能无视这些吗？
简：你在说自己？罗切斯特先生？
罗：是的！
简：每个人以自己的行为向上帝负责，不能要求别人承担自己的命运，更不能要求英格拉姆小姐！
罗：哼！你不觉得我娶了她，她可以使我获得完全的新生？
简：既然你问我，我想不会！
罗：你不喜欢她？说实话吧！
简：我想她对你不合适！
罗：啊哈~，那么自信！那么谁合适？你有没有什么人可以推荐？哼！唉~
你在这儿已经住惯了？
简：我在这儿很快活！
罗：你舍得离开这儿吗？
简：离开这儿？
罗：结婚以后我不住这儿了！
简：当然！阿黛勒可以上学，我可以另找个事儿。……我要进去了！我冷！
罗：简！
简：让我走吧！
罗：等等！
简：让我走！
罗：简。
简：你为什么要跟我讲这些？她跟你与我无关！你以为我穷，不好看，就没有感情吗？
我也会的！如果上帝赋予我财富和美貌，我一定要使你难于离开我，就象现在我难于离开你。
上帝没有这样！我们的精神是同等的，就如同你跟我经过坟墓将同样地站在上帝面前。
罗：简~
简：让我走吧！
罗：我爱你！我爱你！
简：不！别拿我取笑了
罗：取笑？我要你！布兰奇有什么？我对她不过是她父亲用以开恳土地的本钱！ 嫁给我！简！说你嫁我！
简：是真的？
罗：唉！你呀！你的怀疑折磨着我！答应吧！答应吧！
简：我爱你,爱德华.（简依偎在罗切斯特的胸前，罗切斯特紧紧地抱住了她）
罗：上帝饶恕我！别让任何人干扰我！她是我的！我的！
⑽ 简爱电影英文简介/介绍。求帮忙。暑假内回答。
一、《简爱》是英国小说阿基夏洛蒂•勃朗特的作品，刻画了一个女性的成长历程。就让我们一起重温这部经典，来看看《简爱》的英文简介。 Jane Eyre is a novel by English writer Charlotte Brontë. It was published in London, England, in 1847 with the title Jane Eyre. An Autobiography under the pen name "Currer Bell". The Penguin edition describes it as an "influential feminist text" because of its in-depth exploration of a strong female character's feelings. 《简爱》是英国小说作家夏洛蒂•勃朗特的作品，1847年在英国伦敦出版，书名定为自传《简爱》，以笔名“库瑞尔•贝尔”署名。Penguin出版社的版次将小说誉为“具有影响力的女权主义文本”，因为小说深入探索了女主角的强烈情感。 The novel merges elements of three distinct genres. It has the form of a Bilngsroman, a story about a child's maturation, focusing on the emotions and experiences that accompany growth to althood. The novel also contains much social criticism, with a strong sense of morality at its core, and finally has the brooding and moody quality and Byronic character typical of Gothic fiction. 小说融合了三截然不同的写作风格。小说文本是教育小说，讲述了一个小孩的成长过程，聚 焦陪伴孩子成长到成人的情感和经历。小说同样含有不少社会批判的内容，强烈的道德感尤为突出。最后，小说还有哥特式小说特点，婉约曲折，人物嘲讽而浪漫。 It is a novel often considered ahead of its time e to its portrayal of the development of a thinking and passionate young woman who is both indivialistic, desiring for a full life, while also highly moral. Jane evolves from her beginnings as a poor and plain woman without captivating charm to her mature stage as a compassionate and confident whole woman. As she matures, she comments much on the complexities of the human condition. Jane also has a deeply pious personal trust in God, but is also highly self-reliant. Although Jane suffers much, she is never portrayed as a damsel in distress who needs rescuing. For this reason, it is sometimes regarded as an important early feminist (or proto-feminist) novel. 这部小说被认为走在时代的前面，因为小说刻画了一个有思想、有热情的年轻女子，她热衷个人主义，期望完整的生活，同时有着高尚的道德操守。简爱从一个清贫而平凡无奇的姑娘演变成一个富有同情、充满自信的完整女性。随着她的成熟，她开始对人性的复杂表达自己的见解。简爱极度忠诚于上帝，但又非常独立自主。虽然简爱经历许多苦难，她给人的印象从来不是一个需要救赎的可怜姑娘。因为这些原因，这部小说被认为一部重要的早期女权主义（或原始女权主义）小说。
或长一点的
Jane Eyre, is a poor orphan with a joyless life as a child in the opening chapters. Her wealthy aunt, the widowed Mrs. Reed, is bound by a deathbed promise to her husband to raise his orphaned niece, Jane. However, she and her children are unkind to Jane, never failing to emphasize how she is below them. Jane's plain, intelligent, and passionate nature, combined with her occasional "visions" or vivid dreams, certainly do not help to secure her relatives' affections.
When tensions escalate, Jane is sent to Lowood, a boarding school run by the inhumane Mr. Brocklehurst. She is soon branded a liar, which hurts her even more than malnutrition and cold, but Miss Temple, the teacher Jane admires, later clears her of these charges. She also finds her only friend in Helen Burns, who is very learned and intelligent, has a patient and philosophical mind, and believes firmly in God. Helen is often singled out for punishment by a teacher, Miss Scatcherd, who claims she is a bad child because she is disorganized, incompetent, and often late. Helen accepts these faults, and teaches Jane to accept discipline in order to improve her fiery temper and character. While Jane responds to the injustices of the world with a barely contained burning temper, Helen accepts earthly sufferings, including her own premature death from consumption (now known as tuberculosis), with calmness and a martyr-like attitude.
After a serious typhoid fever epidemic occurs simultaneously with Helen's death, the conditions in Lowood improve and Jane slowly finds her place in the institution, eventually becoming a teacher. When Miss Temple marries and moves away, Jane decides to change careers. She is desperate to see the world beyond Lowood and puts out an advertisement in the local paper, soon securing a position as governess in Thornfield Hall.
At first, life is very quiet with Jane teaching a young French girl, Adèle, and spending time with the old housekeeper, Mrs. Fairfax. But everything changes when the owner of the manor—brooding, Byronic, fiery Edward Rochester—arrives. Though on rough footing at first, he and Jane slowly become acquainted with and grow to respect each other. Mr. Rochester creates an elaborate set-up by seemingly courting a proud local beauty named Miss Blanche Ingram until Jane cannot bear it any longer. Mr. Rochester then admits that his courtship of Miss Ingram was a ruse to arouse Jane's jealousy and that it is she whom he truly loves. His feelings are returned, and they become engaged despite their differences in social status, age, and experience. Jane is young and innocent at nineteen years old, while Rochester is nearly forty—worldly, and thoroughly disillusioned with life and religion. Jane is determined to stay modest, plain, and virtuous, and Rochester is almost equally determined to offer her expensive presents and finery. The former has the moral high ground, though, and the weeks before the wedding are spent mostly as she wishes.
The wedding ceremony is interrupted by a lawyer, who declares that Mr. Rochester is already married. His mad wife Bertha Mason, a Creole from Jamaica whom his family forced him to marry, resides in the attic of Thornfield Hall, and her presence explains all sorts of mysterious events that have taken place ring Jane's stay in Thornfield. Mr. Rochester offers to take her abroad to live with him, but Jane is not willing to sacrifice her morals or self-respect for earthly pleasures, let alone accept the status of mistress, even though Rochester insists Jane will break his heart if she refuses him. Torn between her love for Rochester and her own integrity and religion, Jane flees Thornfield in the middle of the night, with very little money and nowhere to go.
She wanders for a few days and finally finds safe haven, under an alias, with a vicar, St. John Rivers, and his two sisters. They bond, and in e course Jane is given a position as village schoolteacher. Later, St. John learns Jane's true identity, and, by an incredible coincidence, it transpires that he and his sisters are actually her cousins. Additionally, Jane conveniently inherits a large sum of money from an uncle who lived abroad. The cousins are left without inheritance because of an old family feud, but she promptly splits the money so that all four of them are now financially secure. This gives St. John the means to pursue his true calling, to go to India as a missionary, but not without proposing marriage to Jane in order for her to accompany him. Though this is her opportunity to choose a husband of high morals, she knows St. John does not truly love her. Contrary to her protest, he insists they must be married if they are to go to India. Jane nearly succumbs to his proposal, but at the last minute, in another supernatural episode, she hears Rochester's voice calling her in the wind, and feels the need to respond to it.
Jane immediately travels to Thornfield Hall, only to find it destroyed by a fire and abandoned. She learns that Mr. Rochester lost a hand, an eye, and sight in the other eye as a result of an unsuccessful attempt to save Bertha from the flames, of which she was the cause. Upon acquiring the knowledge of his location, at a country manor called Ferndean, she sets off for it. She and Mr. Rochester reconcile and marry, for he has adopted love and religion. She writes from the perspective of ten years after their marriage, ring which she gave birth to a son and Mr. Rochester gained part of his sight back. Jane's long quest to find love and a sense of belonging is finally fulfilled. The book ends with a look at the noble missionary death of St. John Rivers far away in India, most likely representing the righteousness of the path Jane did not take.