⑴ 请问电影<蝴蝶梦>除了美国1940年劳伦斯 奥利夫主演的以外,还有几个版本呢非常感谢!!
97版BBC蝴蝶梦，受到好评
英文名：Rebecca
导演：Jim O'Brien
主演：查尔斯·当斯 费伊·达纳韦 伊恩·迈克蒂安米德 Diana Rigg Jean Anderson
类型：剧情 神秘
预告片：
上映：1997年01月05日
地区：英国 德国 对白：英语
评分：7.2/10(159)
颜色：彩色 声音：Stereo
时长：190 分钟
图片http://www.7080ren.net/attachments/UmViZWNjYSDA9g==_cUnNcWxxKVvD.jpg
http://www.7080ren.net/attachments/UmViZWNjYSDA9g==_cwmprn5JRTu5.jpg
视频
http://www.tudou.com/programs/view/WBMbzFdPpz0/
⑵ 急求《蝴蝶梦》英文原版电影的网址！！！
导演：希区柯克
主演：琼.芳登、劳伦斯.奥利弗
谢尔兹尼克国际影片公司出品
影片从梦中的女主人公---第一人称的"我"回忆往事开始。夜里，我又梦回曼德利。面对这堆被焚的中世纪建筑废墟，我又想起很多过去……
那是从法国开始的。做为"陪伴"的我随范霍夫太太来到蒙特卡洛。
一天，在海边我看到一个在陡崖边徘徊的男子。我以为他要投海，就叫出了声。他向我投来愤怒的一瞥。我知道我想错了，他可真是一个怪人。
很巧，他竟同我们住在同一个饭店里。从范霍夫太太那里，我知道他是著名的曼德利庄园的主人德文特先生。他的妻子——美丽的丽贝卡去年划船淹死了。也许这就是他这样怪的原因吧。
因为感冒，范霍夫太太又请了一位护士。我自由了，同德文特先生见面也就多了。我们共进午餐，一起散步、跳舞。我告诉他我的一切，他却淡淡地提起他的曼德利……多次的见面，多次的交谈，我们彼此吸引着。爱就这样萌发了！
可是，范霍夫太太却要赶着去参加女儿的订婚仪式。我立刻去找德文特。
当我告诉他我是来告别的时候，他久久地望着我，向我求婚。就在我不知所措之中，我们离开了法国，作为德文特夫人回到曼德利庄园。
一进庄园，我好象处处看见丽贝卡的身影。无论是屋里的摆设还是家具上，都留下了"丽贝卡"的名字。
管家丹佛斯太太又是那样令人厌恶。冰冷的脸，冷酷的心，对于丽贝卡她有一种可怕的崇敬，她每天整理丽贝卡的房间，布置得和其生前一样。似乎我在她眼里只是一只丑小鸭，而丽贝卡却是天鹅。这事刺伤了我，使我惶惑。
德文特却又好象不愿提起丽贝卡，也许是他不愿引起内心的怀念。我不愿德文特难过，也就不问。一天，无意间我找到了丽贝卡海边的小屋，他让我别去，我问为什么。他竟粗暴地回答："我痛恨那个地方。"
从管帐的弗兰克先生那里，我知道了那小屋是丽贝卡常去的地方，去年她被淹死了，德文特难过地把尸体认领回来。我决定用爱来帮助丈夫从不幸中摆脱出来。
为了使德文特高兴，我决定举行一次盛大的化妆舞会。当我正为出席舞会的礼服发愁时，丹佛斯太太见议我用走郎上一副画像中少妇所穿礼服的样式。当我身着礼服出现在客人们面前，大家失声叫道"丽贝卡！"德文特以及他的姐姐惊呆了，他双手捂着脸呵斥道："快把这套衣服给我换掉。"我痛不欲生地跑回屋里。
就在我丧魂落魄的时候，外面突然升起了两颗信号弹。原来潜水员在海底发现了一条沉船，上面有一具女尸，有人认出那是丽贝卡的小船。
第二天，德文特不见了。我到处找，终于在海边木屋里找到了他。我为昨天的事向他道歉，他却痛苦地说："晚了……太晚了。"然后他告诉我：丽贝卡虽然美丽，却放荡成性，生活淫乱，勾引过许多男人，还跟表哥费尔发生过关系。结婚4天，他知道了丽贝卡的一切，却又为了家庭、为了年青人的面子，表面上保持这种所谓的夫妻关系。一次德文特终于无法容忍她在小屋里同费弗尔幽会，到小屋里找她。她一个人在那儿，告诉他，她已经怀孕；还挑衅地问他是不是为这个孩子要杀了她。德文特大怒，正要打她，她却被绊了一下，一头倒了下去，死了。于是德文特把尸体放在小木船上，将它沉入海底，又冒认了后来出现的一具女尸。
真相大白了，我们的心相通了。 法庭上丽贝卡的表哥费弗尔一定要置德文特于死地为决。决定要去找丽贝卡的医生贝克大夫，以证实德文特是为了丽贝卡怀了别人的孩子而杀了她。
警长和德文特等人来到贝克大夫那里，证实了丽贝卡是得了晚期的癌症而最后一次来看病的。费弗尔失败了。
当我们快活地赶回家时，只见一片大火。丹佛斯太太发疯了放起火来，她不愿看到她的偶像就这样失败了。
在大火前，我和德文特拥抱在一起……
《蝴蝶梦》荣获了1940年第13届奥斯卡最佳影片、最佳摄影两项奖。
下载地址：http://www.verycd.com/topics/8601/
⑶ 跪求蝴蝶梦的复述和评论！！！！英文的谢谢了~~~~~~~~~~
复述（summary）如下：
A shy ladies' companion, staying in Monte Carlo with her stuffy employer, meets the wealthy Maxim de Winter. She and Max fall in love, marry and return to Manderlay, his large country estate in Cornwall. Max is still troubled by the death of his first wife, Rebecca, in a boating accident the year before. The second Mrs. de Winter clashes with the housekeeper, Mrs. Danvers, and discovers that Rebecca still has a strange hold on everyone at Manderlay.
还有一个：
Maxim de Winter, still troubled by the death of his first wife Rebecca, falls in love with a shy ladies' companion. They get married, but the second Mrs. de Winter discovers that Rebecca still has a strong hold on everyone in the house, particularly on Mrs. Denvers, the housekeeper, who begins driving the young wife to madness.
评论(comments)如下：1.a brief one比较简洁的^_^
A stylishly directed and photographed film that examines a number of themes, such a deception, death and depression, and explores well the emotions of its characters. It is rare to find a film like this, as it tackles various genres, ranging from being a romance to a mystery to a drama to even a comedy at times, and all without seeming pretentious. The cast is truly magnificent. Judith Anderson is a stunner is a quiet but sinister role, and George Sanders is even more impressive in lively but also sinister performance. Laurence Olivier and Joan Fontaine are perfect for their roles too. The film won Academy Awards for Best Picture and Best Cinematography quite deservingly – this is one of the best films Hollywood has ever proced.
2.一个比较详细的^_^
《 What Atmospheric Gothic-horror Should Be》
Alfred Hitchcock was and is still the undisputed Master of Suspense, and there is a lot of that here in his foray into Gothic horror, as the mystery surrounding the unseen yet omnipresent Rebecca will engage the viewer from its dreamy start to its bleak conclusion. This is exactly what atmospheric is supposed to be about, and in black and white, it shines. This is also what Gothic horror is in essence, and many have imitated yet come up short, most notably M. Night Shyamalan who, in trying to go for a shock twist and purported "atmosphere" only creates a bad aftertaste and a hangover the size of Mount Everest. This is, essentially, Hitchcock's first true masterpiece.
Not one performance rings false, not to the novel or to their respective interpretations. Lawrence Olivier, quite possibly one of the greatest actors that ever lived, portrays a broken man who still lives haunted by the past as he himself were still living in that unending hell. Judith Anderson embodies one of the most coldly sadistic figures in cinema history, her smooth and elegant truculence only exceeded by Anthony Hopkins' rendition of Dr. Hannibal Lecter. One can't seem to understand the way she wallows in her dead mistresses' clearly perverse nature, but that exactly she does, right down to her own end. George Sanders does what he does best: sneer, smirk, and spit line after line of practiced venom, and would be honored 10 years later in ALL ABOUT EVE. Gladys Cooper, still striking in her 50s, plays into her casual cattiness which means no harm, although her rendition of Beatrice Lacy is a little subed from the novel's version.
And then there is Joan Fontaine. Not one of the best actresses on film, yet here, playing a role that evolves beautifully from a frightened, weak girl who is put into a situation she does not understand and who turns right at the point of losing it into a much more mature, strong woman capable of holding her own, she carries the weight of the entire drama and comes forth with flying colors. While I would have preferred Anne Baxter who would have been the exact right age for this role, Fontaine exudes so much restraint and nervousness about her character (partially to blame Olivier's treatment of her and Hitchcock's telling her the entire cast hated her), it's almost a relief when she finally decides to confront Olivier about what it the secret of Manderley. Not many roles require such a change and not many actresses would sink her teeth into a part that requires being put-upon until she can't stand no more, and this is one beautiful performance.
A movie that should have won more Oscars that year, REBECCA has since grown in stature and proved that a film need not trophies to be Timeless and Great.
再补充几个^_^comments
《the first Hitchcock masterpiece》
"Rebecca" was the first Hitchcock film I ever saw, and I was mesmerized by it from the start, convinced that I had to see more of the director's work. It richly deserved the Oscar it received, but it's a real puzzle that the Academy saw fit to withhold a best director award for Hitch. Would one possibly give an award to a work by Picasso and not to Picasso himself?
"Rebecca" was the first of the director's American-made films, and it shows. It's quite different from his earlier British-made films, such as "Young and Innocent" and even "The Lady Vanishes," which somehow seem more amateurish by comparison. (I know little of the British cinema of that era, but it's difficult not to conclude that Hollywood was better at procing more sophisticated efforts.) I would even judge "Rebecca" the best of his films of the early 1940s, with the possible exception of "Shadow of a Doubt." It is true, of course, that much of this film has become cliché (remember the spoofs on the old "Carol Burnette Show"!), but it still weathers the decades very well. The acting is uniformly excellent. Olivier is the hardened Maxim de Winter, untitled lord of Manderly, trying to forget the past and given to unexpected bouts of anger and coldheartedness. Fontaine is perfect as the unnamed mousy heroine, innocent yet deeply in love, still carrying with her the aura of an awkward schoolgirl. Even character actor Nigel Bruce, best known for his role in the Sherlock Holmes films, makes an appearance and plays, in effect, Nigel Bruce!
But it is Judith Anderson's role as Mrs. Danvers that viewers are likely to remember best. Her presence is as dark and foreboding as that of the deceased Rebecca herself, and Fontaine is evidently cowed by her icy stare and unnervingly formal manner. The dynamics between the two actresses are wonderful. Who could fail to empathize with Fontaine's unenviable position as, in effect, the new employer of such an intimidating personage? On the other hand, Olivier seems quite unfearful of Anderson, despite her representing so much of the past he is trying to block out. This part of the plot (even in the book) never made much sense to me and is unconvincing.
As far as I know, this film marked Hitch's first collaboration with composer Franz Waxman, whose haunting score makes it all the more memorable. Waxman's scores are perhaps less obviously cinematic than those of the incomparable Bernard Herrmann, who would score Hitch's films from 1955 to 1966. Contrast the score for "Rebecca" to Herrmann's music for "Citizen Kane" the following year, and you'll immediately hear the difference. Waxman's is more symphonic in the central European style reflective of his own birth and upbringing. Yet it is worth recalling that scoring films was still a new art at this time, and both Waxman and Herrmann were pioneers.
Finally, one has to mention the cinematography, which is magnificent. Technically "Rebecca" might have been filmed in colour, which was newly available in 1940. ("Gone with the Wind" was filmed entirely in colour the previous year, while "The Wizzard of Oz" and "The Women" had colour scenes.) But colour would have diminished its impact. The suspense and the ominous sense of impending doom could only have been communicated through the medium of black-and-white and the deft use of light and shade which it affords.
In one respect, of course, "Rebecca" is not a typical Hitchcock film. There is no fleeing innocent trying to clear his name of a crime he did not commit. Surprisingly, there isn't even a murder, although its absence was apparently imposed by the Hayes Code and is certainly foreign to Daphne Maurier's original novel. Some have said that there is more Selznick than Hitchcock in this film, and perhaps there's something to that. Still, if the collaborative effort between the two was not exactly amiable, it was nevertheless successful.
In short, this is the first in a string of Hitchcock masterpieces.
《Haunting atmospheric treasure SPOILER ALERT》It seems almost superfluous to add to the many laudatory comments this movie has received on this site, but I feel a need to lay some tribute at the altar of this wonderful piece of classic cinema.
If you haven't seen the movie, there may be a couple of SPOILERS in this review, but hopefully also some new insights in compensation.
As many have noted, the cast is uniformly excellent: the annoying social snob Edith Van Hopper(Florence Bates), Gladys Cooper's kind, sisterly Beatrice, the eerie Mrs. Danvers of Judith Anderson, Olivier's distracted yet explosive Maxim, George Sanders' snide, oily Favell and especially the oft-times underrated second (but unnamed) Mrs. DeWinter of Joan Fontaine.
Although not entirely faithful to the Daphne Du Maurier novel, the screen adaptation preserves the haunting ambiance of Du Maurier's work. Rebecca, though never seen, is clearly the central character, but we learn about her all through indirection in the dialogue of the other characters. We are allowed to create her piece by piece in our own minds, which just adds to the engrossing, I-can't-stop-watching, thrust of the movie.
The character who actually tells us the most about the real Rebecca is Mrs. Danvers. The erotic attachment of this character to Rebecca is subtle, yet unmistakable. The wonderful scene in which Judith Anderson shows Rebecca's bedroom to Joan Fontaine is breathtaking in its suggestiveness. The West Wing, 'the only room that looks down across the lawn to the sea' has become Mrs. Danvers' private temple to Rebecca. Her loving preservation of Rebecca's possessions, her sensual handling of Rebecca's underclothes, of her diaphanous negligee, of her glamorous furs and then Anderson's almost hypnotic miming of brushing Rebecca's hair as Fontaine sits at Rebecca's dressing table all make this scene an unforgettable sequence. Anderson's acting is absolutely miraculous. She achieves her character with hardly ever a change in her affect, except where a very slight contrasting up tick in energy transforms her in the West Wing scene and in the scene where she coolly suggests that Fontaine leave-by means of a precipitous drop out of the window onto the rocks. It is a performance which I doubt could ever be plicated.
As we later learn of Rebecca's moral character, it also seems that Mrs. Danvers was as much in love with Rebecca's corruption as she was with the woman herself. 'Danny' in a way becomes the embodiment of Rebecca's cold malevolence which still lingers in the mansion.
Joan Fontaine could hardly have been better. She, of all the characters, evolves through the movie. She moves in a seamless line from the pitiful, beleaguered companion of Mrs. Van Hopper to her drowned rat arrival at Manderley to the self-assured and supportive wife Maxim wanted and needed. What I found fascinating about this transformation is the imaginative skill of the costume designer. At the beginning, Fontaine's shy little character is dressed like she made terrible selections at a Macy's basement sale. Later as she tries to fill the role of the 'great lady' she believed Rebecca to have been, her clothes always appear too big and totally out of character. Note the black evening dress with the absurdly large flowers across the front and especially the overwhelmingly outsized Garden Party gown she tries to wear to the costume ball. After she learns the truth about Rebecca from Maxim, discovering that he actually loves her as much as he hated Rebecca, Fontaine's costumes become trim, conservative and tasteful, befitting the genuine, grown-up woman she has become.
Fittingly, the final scene belongs to Anderson-the frustrated woman robbed of her goddess--who brings the movie to a thundering operatic finish.
Although Selznick and Hitchcock repeatedly clashed over this move, it remains a deathless tribute to both men. This movie never loses its fascination and bears repeated watching, each time weaving its wonderful spell anew. It is a must-see, again and again, classic.
希望对你有所帮助^_^
⑷ 蝴蝶梦电影版有几部 ，男女主角是谁
就希区柯克的这部吧。
http://posters.imdb.cn/poster/12723
海报
劳伦斯·奥利弗 Laurence Olivier .... 'Maxim' de Winter
琼·芳登 Joan Fontaine .... The Second Mrs. de Winter
蝴蝶梦 | 丽贝卡 | 吕蓓卡(1940)
片 名： Rebecca
译 名： 蝴蝶梦 | 丽贝卡 | 吕蓓卡
导 演： ( 阿尔弗雷德·希区柯克/阿弗莱德·希区柯克 Alfred Hit )
主 演： (劳伦斯·奥利弗 Laurence Olivier) (琼·芳登 Joan Fontaine) (乔治·桑德斯 George Sanders) (朱迪斯·安德森 Judith Anderson) (尼格尔·布鲁斯 Nigel Bruce) (雷金纳德·丹尼 Reginald Denny)
上 映： 1940年03月27日 美国 更多地区
地 区： 美国 更多详细拍摄地
对 白： 英语
评 分： 本站评分..9.0/10 ( 15票 ) 详细
IMDb评分8.3/10 ( 20377票 ) 详细
颜 色： 黑白
声 音： 单声道(Mono)
时 长： 130
类 型： 剧情 爱情 惊怵 神秘
分 级： 西班牙：13 冰岛：L 西德：16 英国：PG 英国：A 阿根廷：13 智利：14 芬兰：K-12 韩国:15 瑞典：15 秘鲁：14 德国：16
加入站内收藏夹 查看评论及点评 对本电影评分本片属于TOP 74 位
·蝴蝶梦剧情介绍：
《蝴蝶梦》是英国导演A.希区柯克赴美后拍的第一部影片，是他向好莱坞显示自己独特才能的见面礼，也是希区柯克的成名代表作，根据达夫妮·杜穆里埃的同名小说改编。希西柯克善于制造悬念效果。它那高超的叙述手法，深深地吸引着观众，显示了希区柯克深厚的艺术功底。
在《蝴蝶梦》中，他放弃了惯用的充满紧张感的惊险样式和剪辑技巧，着力刻画人物的相互关系，通过运用移动摄影、小道具、画外音及反应镜头制造神秘的心理效果。整个故事以缓缓的节奏展开，但常常插入奇笔，在场面调度上出其不意，吓人一跳。例如丹佛斯太太的出场就是这样处理，她所经过的路线从来不让人看到，常常不期而至，令人害怕就在这里，这就是悬念的魅力。影片采用了虚实相结合的方法，而虚写占了很大的比重。吕蓓卡是一个核心人物，却始终没有出场，甚至连一张照片都没出现。影片中的主人公"我"已经相当美了，而传说吕蓓卡还要美，"我"无法与她相比。但是吕蓓卡究竟美到什么程度，无从说起，影片就是让观众去思索，去想象。
吕蓓卡虽然死了一年，但"我"却无时无刻不感到她的存在。虽然处处皆无她，而她又无所不在。观众欲见其真面目的愿望也就不断增强。这种似无却有，似有却无的神秘感，正是悬念产生的基本条件。试想，这个无影的人控制着一切，她的形象究竟如何？观众是迫切想见到的。也许，《蝴蝶梦》的片名也正有这方面的寓意吧。
然而，虚写毕竟无法充分地达到实感的效果。影片成功地借助了吕蓓卡曾经住过的房子，用过的每一件东西，包括随处可见的醒目的R字，以及每一个同她打过交道的人。每当谈起她时，所唤起的某种感情各异的面部表情，都使我们实实在在地感觉她的存在。阴险的丹佛斯太太是吕蓓卡的化身，从她的影子、笑声中，观众仿佛感到吕蓓卡依然存在和强大。影片就是这样以虚达到了实的目的。
吕蓓卡与德温特的夫妻感情究竟怎样？她到底是一个什么样的人？这个悬念是观众迫切所要知道的。在揭示这个影片的核心问题时，希区柯克运用巧妙的不露痕迹的手法把观众"欺骗"了。影片一开始，主人公"我"以及观众，都在一定程度上相信吕蓓卡是一个无与伦比的妻子，德温特无时不在怀念着她；但当知道吕蓓卡是个"放荡女人"的真相后，都无不为之"震惊"。而再回过去想一想情节发展又是丝丝入扣，合情合理，这正是"悬念大师"的特长。<
影片基本上采用了第一人称的叙术方法。借"我"的耳朵来听的，镜头多取自"我"的视点，使观众有身临其境之感。
《蝴蝶梦》荣获了1940年奥斯卡最佳影片、最佳摄影两项奖，但希区柯克本人却没有得到应有的褒扬。他在好莱坞从影40载，一直没当选过最佳导演，而仅仅只的提名。希区柯克不仅是个导演，而且也有着"出镜"的嗜好，他常常在自己的片中扮演一些小角色。本片，吕蓓卡与表兄在打公用电话时，亭子旁边站着一个又矮又胖的男子，此人就是导演--希区柯克。
影片导演及大部分演员都是英国人，且故事以二十世纪初英国的庄园为舞台，因此影片充满浓厚的英国色彩，风格典雅、庄重。希西柯克以后的创作以悬念片为主，《蝴蝶梦》正是他从英国风格转向美国风格的作品。在该年度的奥斯卡奖评选中，它几乎囊括所有主要奖，计有十一项的提名，结果获得最佳影片、最佳摄影（黑白）两项奖。
⑸ 关于电影<蝴蝶梦>
蝴蝶梦Rebecca (1997)
导演： Jim O'Brien
主演： 查里斯·丹斯 艾米丽雅·福克斯 Lucy Cohu 更多>>
类型： 惊悚 / 剧情 / 悬疑 / 悬疑 / 爱情
国家/地区： 英国 / 德国
类型： 惊悚 / 剧情 / 悬疑 / 悬疑 / 爱情
片长：Germany:190 min (2 parts)
对白语言： 英语
发行公司： Masterpiece Theatre
影片的资料相对比较少
可供下载的资源也是偏少的
土豆上有，但是不是很清晰
你看看如果能接受，
就直接看吧
祝你好运
http://www.tudou.com/playlist/playindex.do?lid=2633850
⑹ 急！！关于英文原著Rebecca<蝴蝶梦>
不是的，是被她丈夫枪杀的，然后沉船在大海里面，伪装成吕贝卡自杀身亡
⑺ 谁有电影《蝴蝶梦》的英文简介
Butterfly dream synopsis ---
The young woman (Joan Fontaine, Joan Fontaine ornaments) first glimpsed Mandalay owner Deventer (Laurence Olivier Laurence Olivier) is on the beach on the edge of a cliff. She thoughtDevin to jump into the sea, with a shout, let Derwent be angry. However, the next two people met then the familiarity of experiences that they fall in love, node for the husband and wife, the woman who became the mistress of manderley.
Happy life began to spread, the new wife has encountered a gloomy cold "". She found the estate everywhere visible Deventer ex-wife Rebecca shadow, her name in the furniture to leave traces, makes the newlywed wife uneasy, housekeeper Mrs. Danvers, is obsessed with Rebecca, full of hatred for the new master. Even her husband Devin, is not willing to explain it all, as if his heart andlove.
Rebecca is like a nightmare filled in Manchester Deli manor, things become more complicated.