英语电影观后感 正片

讲的是(🛬)一个(gè )作曲家(📠)创作的一(yī )部(🤶)交响曲(🏖)，因为(wéi )极具震(🌏)撼力，以(yǐ )至于(⌚)(yú )他的朋友都(🚪)(dōu )认为(👟)(wéi )是继(📿)贝多芬(🌁)(fēn )第九(jiǔ )交响(🍂)曲之后的杰(jié(😃) )作。 Drama of a young Chinaman in San Francisco's Chinatown who refuses to kill the father of the girl he loves, and escapes with the girl from the clutches of the villain, who is chief of a powerful Chinese secret society. A middle-class man wants to just once break out of his routine life and his dull marriage and throws himself into the hustle and bustle of the big city nightlife. Attracted to all the temptations, he goes to a dancing bar with a prostitute, where one of her colleagues is trying to take advantage of a naive man during a gambling game. But when the man wins against all expectations, the women lure him to an apartment, rob him and then murder him. The middle-class man followed the women and when the police arrive, they arrest him as a suspect. In desperation he contemplates suicide in his prison cell, but just in the nick of time, the real killers are found. The man who was just looking for a new experience then meekly returns home where his wife, without a word, serves him the warmed up soup from the night before. I saw this at the London Film Festival in 1995 or 1996. The print had been lovingly restored from sections scattered around the world, including some from archives in Moscow. Somebody near me said "I'm really looking forward to this", which was understandable, since the director, as Michael Curtiz, later made some jolly swashbucklers and Casablanca, and the LFF had previously come up with several almost unknown silent masterpieces, including Jacques Feyder's Visage d'enfants. A scientist creates a mechanical man but thieves steal it and send it out to kill and destroy a city. The only way to stop the creature is by creating another mechanical man to destroy it. This Italian horror film seems to have had an influence on Fritz Lang's Metropolis, at least in the look of the robots. It's hard to really judge the film since so much of it is missing but they did a good job at taking the current length and adding enough background so that we know what's going on. 法国电影导(✨)(dǎo )演。先(🕧)锋派电影(yǐng )的(🍼)代表人物之一(💂)(yī )。1897年 3月25日生于(💎)华(huá )沙(📩)，1953年卒于(🚶)巴黎(lí(📱) )。爱(ài )浦斯坦原(🗿)是(shì )散文(wén )作(🤢)家和哲学(xué )家(🏰)，曾在L.德(💞)吕克(kè )主办(bà(🤗)n )的电影杂志上(⏭)发(fā )表文章热(🗜)情称颂(sòng )“第七(♌)艺术”。1922年(👫)，他首次执导(dǎ(🍟)o )了《巴斯德传》。次(🥂)(cì )年，执导了(le )根(📣)据(jù )巴(🏤)尔扎克(🐎)小(xiǎo )说(🌂)改(gǎi )编的《红色(🍘)(sè )旅店(diàn )》以及(📂)《忠实的(de )心》。这些(🐂)影片(pià(🐞)n )在蒙太奇手法(😵)的(de )应用上十分(🌤)精彩(cǎi )，获得了(🚨)巨大成(💞)(chéng )功。爱(🕝)浦斯坦(💔)成(chéng )为先(xiān )锋(🌗)时期印象(xiàng )主(🕯)义(yì )学派的重(🛌)要(yào )人(🔢)物(wù )。此后爱浦(🍡)(pǔ )斯坦(tǎn )开始(⤴)拍摄了一些(xiē(👞) )商业影片。但是(😂)(shì )他从(😁)未完全抛弃(qì(🌅) )对电影艺术的(🐞)探(tàn )索：1927年他(🔓)导演了(🔏)(le )《┩$×11》、(🏉) 《三(sān )面(🕋)镜(jìng )》，次年导(dǎ(⛺)o )演了(le )《于谢家的(👸)(de )没落(luò )》，其中仍(🐨)使人(ré(👡)n )感受到先锋派(⛅)风(fēng )格。