remember the titans_求Remember the Titans 英文观后感麻烦稍短一些 足够...[英语]

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Remember the titans

(A student is asleep on the sofa in the lobby; his friend comes up and tries to wake him up.)

B:Hey,come on,you lazy bones!You’ve been sleeping for an hour.

A:What time is it?（look at his watch）My gosh,it’s only one o’clock.Leave me alone,I need my beauty sleep,you know.

B:ok,sleeping beauty.I am sorry to disturb you,but this is really something.

A:Go fly a kite and stop bugging me; yesterday I was burying myself in studies.

B:I got one DVD,called “remember the titans”,yesterday I watched that,it’s a touching movie.Shake a leg,or you will miss the chance.

A:Listen my friend,I share your enthusiasm,but I didn’t sleep a wink last night ….hey,wait!What did you say it was?

B:Remember the titans.

A:wow,I ever watched that,it is good,I want to do again.Can you borrow me?

B:No……just kidding.ok,let’s go out for some fresh air.

A:OK!Which plot makes a strong impression on you?

B:There’s a quotation from movie that I especially like,wait a minute ,I take a note,here,this,(you can read it)Greek mythology then,titans were greater than the Gods,they rule their universe with absolute power with that football field out there tonight,that’s our universe,let’s rule it like the titans.

其他类似问题

问题1：Remember the Titans的观后感

4月29日,是我们北京公司的月会,庆哥来到北京公司,为我们开了茶话会,而且推荐大家共同观看了一部影片Remember the Titans《冲锋陷阵》,又名《铁血强人》或《光辉岁月》.这部影片以前就看过,但是再次观看,感触还是不一样,或许是这些年来自己不断的在进步,在实践家感受的一切,使我更深层次的理解了一些事情.

这部影片看完后的第一感觉是,更加明白了生命的意义.突然想到了俞敏洪在《赢在中国》的一段话：我们的生命,有的时候会是泥沙.你可能慢慢地就会像泥沙一样,沉淀下去了.一旦你沉淀下去了,也许你不用再为了前进而努力了, 但是你却永远见不到阳光了. 所以我建议大家, 不管你现在的生命是怎么样的,一定要有水的精神.像水一样不断地积蓄自己的力量, 不断地冲破障碍. 当你发现时机不到的时候, 把自己的厚度给积累起来,当有一天时机来临的时候,你就能够奔腾入海,成就自己的生命.这段话非常精彩,社会是现实的,我们的对事物的认知也是由简单到复杂再到成熟的简单.种族融合是当时美国国内必须要面对的严重问题,这里我们不做讨论.那么对于我们的意义是什么呢?在我们成长的过程中,社会的变化是我们所无法改变的,我们要积极的去面对,才是我们要做的!经济形势不好,是我们抱怨的理由吗?不是!经济环境变差,顾客在我们的课程消费方面的投入会减少,但是,我们顾客的课程投入都投在我们的公司了么?不是.可能公司会受到影响,但是不会因为经济增长变缓而衰退,死掉的只是那些和我们竞争目标顾客群的没有专业、没有品质的团队.当顾客发现我们真正可以帮到他们,我们的专业能力是一流的,我们的团队是可以信赖的,那么我们就能继续赢得顾客!所以,与其想一些杞人忧天的问题,还不如积极的去面对来的实在.业绩暂时滑坡没关系,每个人都有状态不好的时候,但是,一定不要放弃,如果你放弃了,不能怪环境,只能怪自己.记得乔丹说过：“我可以接受失败,但是我不可以接受放弃.”能够用这样的态度去理解当前的形式,是在现在这个大环境下,每一个高管和员工必须要做到的,否则,就会被现实无情的淘汰!

影片中的团队文化建设值得深思.影片中有两辆巴士,曾经分别承载了肤色不同的两伙人.现实生活中的团队,也会因为这样那样的原因形成所谓的小团伙、小帮派.我想,这是一个很大错误,带团队就要一视同仁,用统一的标准去管理员工,这样才能给与你的下属最基本的公平和公正,只有自己做到了,那么当你面对事情的时候,你才能无私的面对,真正保持自己的人格和道德,别人才会尊重你,才会接受你的领导.任何小帮派的形成,最根本的,应该就是“私心”在作怪.只有抛弃了私心,才会有公平公正；抛弃了私心,团队也才会发展的更好.到后来,黑人和白人队长迅速成为了战斗的伙伴.这一时刻究竟是什么原因呢?我觉得就是“团队”、“责任感”.这和教育程度无关,而是一种个人道德素质最基本的体现.所以,在选人用人的原则上,就要录用有责任感的人,如果坚持这一原则,哪怕技术和能力差一些都不怕,给他们时间去面对和改变；但是,如果没有责任感的人,能力再强也不用,这样的人,只能是团队的蛀虫,所以绝不能让他对对团队造成伤害.著名企业家牛根生的用人原则就很好,为他挑选了很多精兵强将.所以一个公司的团队建设,怎么去做,这是值得深思的问题.

再者就是执行力的问题.现在公司一当提到执行力这个词,很多人就开始抱怨,就开始找理由.影片中,黑人教练在带团队的时候,刚开始就以强硬作风统治了他的团队.过分么?我们要明白,不过分!教练是什么?是对老板、对顾客、对员工都要负起责任的人,自己能力不足,只是试图用感恩和感动的方法去做事,你能够实现应该担负的责任么?作为员工,老板请我们来做什么?就是要你对老板、对顾客负责的；作为经理高管,不是请你来当好好先生的,你交不出满意的答卷,你就是失职!就好象一个快递员,他给你送快递,路上遇到了大雨,车又出故障,路又坏了……或许因为种种原因,没有送到,你不会因为他很努力了给他快递费.所以,要是没有结果,公司也就因为没有业绩,最后慢慢在竞争中倒下,我想,每一个人应该都很心痛,除非,你是一个没有感情,没有责任感的人.

还有,就是个人怎么样去成长锻炼.影片中,小皮在比赛中被撞伤,黑人教练决定要那个阳光男孩担负起组织和指挥的责任.阳光男孩担心自己做不到,而教练只告诉他一句话：你的队友需要你.在教练的激励下,阳光男孩找到了方向,突破了自己,最终率队取得了胜利.那么.现实社会中,我们往往对希望培养的对象呵护有加,总是担心还没准备好,担心无法面对生活残酷.结果往往反而会对我们对成长构成障碍.能够成功的人一定是能够自我面对,自我突破的人.所以我们即使遭受挫折也一定要微笑着收获经验.自我设限的人有再好的条件也注定只能庸碌一生.所以一定要自我突破,自我成长.这才是我们生命的关键.

还有好多好多的东西值得我们深思,去发掘,所以,我们要找到一切的关键,找到本质,不断的去努力,成就自己的人生.

最后,送给自己一句话：“无论任何时候,都不要让自己的心死去!”

又是一个真人真事改编的电影,老美怎么就有这么多故事改编啊,我们没有么?难道我们就只能通过大辫子戏来折射对当代社会的讽刺而不是指着鼻子骂么?

　　

　　电影讲述的是,70年代,美国刚刚开始废除种族歧视,高中的球队从单一的白人变成了黑人和白人混合,黑人主教练和白人助理教练携手共进,让这只史无前例的混合人种球队获得了州冠军、全美亚军,十三场连胜.多么不容易啊,不容易的不仅仅是比赛,更在于让黑人和白人成为朋友.

　　

　　相对于比赛激烈的后半部分,我更喜欢看前半部分教练教会大男孩们交朋友的过程,的确,虽然在训练营中,黑人和白人小伙由于起居、训练都在一起,加上本身种族歧视的观念就不深,所以自然就很好的融合在了一起,但是从训练营比赛归来之后,面对学校、社会、家庭中的种种种族歧视势力,他们素手无策,只能选择沉默.但是只要是在赛场,他们就是亲兄弟,就是攥成一个铁拳的十指,所以他们才能无往不胜,甚至在没有教练在场的情况下,也知道拧成一股绳.球队的成绩压制住了种族歧视的观念,事情进入良性循环,环境才一步步好转.

　　

　　能够把球队带好好不难,难的是把一只成绩不好的球队训练成为冠军.我们现在对环境的大肆破坏,难道就是为了培养将来的环境治理“大跃进”创造环境?

　　

　　很佩服片中的白人警察（好像那个时候的警察暂时还都是白人呢,至少片中是这样的）,不排除他们之中有有种族歧视的人,但是他们在执行公务（保护黑人不受种族歧视分子伤害）的时候,却表现的非常出色,值得钦佩.更佩服将禁止种族歧视写入法律的人,他们才是真正的幕后英雄,林肯总统也没有白白牺牲～

　　

　　片中的有些裁判倒是很不争气哦,呵呵.

　　

　　题外话：怎么美式足球球员发球的时候,姿势那么像大猩猩呢?

　1.从网上评论来看,此片属于米国中小学强迫小孩子进行思想教育的主旋律片~~

　　2.线卫Gerry Bertier真的很给力,1971年他得到了无数荣誉,全季10场常规赛加3场季后赛拿下142次拦截和42次擒杀的恐怖数据,同时他率领的防守组让对手在13场比赛只拿下38分,平均每场3分都不到!一些NCAA名校也对还在上高二的他有招揽之心.不过不同于电影里的情节,现实中的Gerry是在赛季结束后遭遇车祸导致瘫痪的.

　　瘫痪后的Gerry成了杰出的残疾人运动员,参加过轮椅田径赛和篮球赛,破过一大把州记录和全国记录,在残奥会里得到过铅球和铁饼金牌.他的教练一直是Bill Yoast.

　　他还致力于改善残疾人（主要是和他一样的截瘫者）的生活状态,1981年他再次遭遇车祸（他这辈子就和车犯冲）与世长辞,他的妹妹创立了“42号Gerry基金会”来继续他的遗志.

　　其实Gerry Bertier才是这个故事里真正的励志帝呢~~

　　3.电影里关于种族间紧张气氛的情节在现实中大都没有发生过.

　　4.鸟枪阵

　　71届泰坦队在现实中的决赛结果是27比0,Gerry的防守组没有给对手任何机会.为了增加戏剧性,编剧们让对手变得非常强大,而且大量在进攻中使用鸟枪阵（台版的字幕直接译为“职业队打法”,坑爹呢）——从电影的镜头来看,应该是单殿卫四外接手的经典鸟枪阵.虽然鸟枪阵能给四分卫更多的时间和更好的视角来准备传球,但是防守组会更有针对性地倾向于传球防守,而且长距离开球也有更高的风险.所以Yoast才会说：“丫真把自己当纽约喷气机了嘿.”

　　5.两个四分卫和野猫阵

　　电影中的泰坦队有两个四分卫,黑人“牧师”和白人Ronnie.牧师比较擅长运动战和短传,Ronnie的特长则是长传,都比较符合各自的特色.

　　最后一战的最后一球,泰坦需要反超,一般情况下进攻方都会叫Hail Mary pass,拼死做长传.对方的教练也叫的是针对长传的战术,他在高喊 "Cover D",应该是把安全卫回收防外接手和近端锋杀得太深.不过棋高一着的泰坦队用了一个比较怪异的战术,中锋开球给第一个四分卫Ronnie,Ronnie交球给跑卫,跑卫再次交球给第二个四分卫牧师,牧师一骑绝尘,直奔端区而去.有点眼熟?没错,这战术里面如果把Ronnie换成一个跑卫,就是近年来NFL很流行的野猫阵了.话说NFL的很多新战术都来自高中和大学,此言不虚啊.

问题2：求The Queen英文影评~`[英语科目]

1:

Imagine for a moment you are newly elected landslide Prime Minister, Tony Blair, and your modernising beliefs don't really welcome obeisance to an outdated monarchy. Princess Diana dies, and the nation turns with venomous tooth and claw (aided perhaps by a certain spin doctor) against the Royals. A golden opportunity? But Blair feels there is something unseemly about tearing the Queen to bits and, in the middle of the crisis, kicks in some damage control.

This is the dynamic of power that bounces back and forth, aided by shrewish asides from Cherie Blair ("Off to see the girlfriend, then?") and her hilarious curtsy that manages to be respectful while still taking the p*ss. Delivering a sparkly dialogue and an especially witty battle between monarch and minister, director Stephen Frears' central accomplishment still has to be casting Helen Mirren as the Queen. No hard-line royalist, Mirren has said she thought twice before accepting her honours as a Dame of the British Empire in 2003, but her portrait here is convincingly astute, supporting a remarkable physical transformation with a sensitive characterisation that endears the Queen to us and renders her majesty's charisma all the more apparent.

In an early scene where the Queen is chatting to her portrait artist, she mentions the coming election and expresses a longing to vote, just once, for "the sheer joy of being partial." The artist reminds her that it is, after all, her government, and Queen Elizabeth retorts, "Yes, I suppose that's some consolation." Obviously there's some things money can't buy.

The film examines her character, her stoical dignity born of years of tolerance not of her choosing, and is maybe so gripping because previous portraits have been little more than a regal cipher. At the end, we feel that we have been privy to the private life of a person who, like her or not, is a feature of everyone's life in the UK. It maybe lacks the grandeur that is traditionally associated with the Queen, but is nevertheless a fairly sympathetic portrait. When Blair tells her how her ratings have dropped to an all time low, she is genuinely upset that she has failed to read her public - to whom she has devoted her life. The film, with all its light-hearted touches, maybe even assists the process of 'modernisation' that the Monarchy now believes is inevitable.

Much of the power in the performances is from unexpressed emotion. All the players are in such important positions that displays of feeling are usually taboo, publicly and sometimes privately as well. After her husband takes her grandchildren stag hunting to 'take their mind off things', the Queen is privately close to shedding a tear for the stag. A moment in the Balmoral countryside when she is alone with the creature reveals a sense of wonder in her that she cannot communicate to the human companions of her world, and she visits the body of the beast (when it is later killed by a neighbour) with more alacrity than she feels towards a dead daughter-in-law who has been her near ruin. Diana, in life, was perhaps also isolated, and we are reminded of her devotion to causes such as banning land-mines - causes to which she could unleash her emotion and, fortunately for her, to which the public could also identify.

The film evokes strong feelings - not least in bringing back the sense of national mourning that followed Diana's death (actual footage is used and the moments leading to the car crash are movingly re-created) even if this goes on to an almost sugary excess. Add to that the crisis of feelings within the Royal Family itself, the sense of isolation felt by the Queen, and the release of the film near the end of Blair's career, and you have a movie that presents a whirlwind of emotion that will thrill public tastes.

2:

It's still early innings, but Stephen Frears's The Queen is definitely going on my short list for best film of the year, and it will stay there. It's a flawless, burnished production, a virtually perfect film. This glowing, suspenseful docudrama retells the story of the days of upheaval in London and elsewhere, in 1997, shortly after Tony Blair had just won for Labor, by steering clear of trades unions and welfare statism, while flogging his "let's modernize Britain" program, window-dressing for his Clinton-like political shift to the right.

Then, on August 31, Princess Diana, recently divorced from Prince Charles, was killed in a high speed auto accident in midtown Paris. The film's story turns on how various echelons of British society reacted following Diana's death. Dramatized are many vignettes that bring together the major personalities at the center of the highly public dilemma that unfolded in the few days following Diana's passing.

Helen Mirren was, as they say, born to play Queen Elizabeth II. In every tableau, in every body movement, in every nuanced shift in feeling she conveys to us, with or without words, she is simply majestic. But this movie is far more than a showcase, a star vehicle, for Ms. Mirren. Each of the major supporting players, portraying some prominent person, is superb. Besides The Queen, we have The Queen Mother (Sylvia Syms), Prince Philip (James Cromwell), Prince Charles (Alex Jennings), Mr. Blair (Michael Sheen), and their respective retainers, playing out at close range their responses to one another, within the framework of a taut cultural and political crisis, one that is, above all else, a threat to public support of the Monarchy.

This drama takes place in an enervating, though also suppressed, emotional atmosphere, the tension level constantly ratcheted up by the principals' responses to pressures from the public and the press. (Of course the accuracy of the depictions is open to some question at least, and, in addition, there is the insurmountable problem that no one knows for sure the full truth about many of the rumored conversations -discussions that might or might not have transpired among these people - that are dramatized here. It is fair to say that the actors have magnificently sculpted their characterizations to fit the common perceptions of these celebrities in the public eye.

But there's more: I haven't yet touched on the main reason that I think this movie will be considered a classic decades from now. That is it's overarching subtext, not about individual personalities, but about a deep change in the very fabric of social custom signaled by events after Diana's death, especially in Britain, but also in the U. S. and other "anglophilic" "developed" nations. The point is made crystal clear in the film: Elizabeth's seemingly callous aloofness from the public in the wake of Diana's death is the result of her conviction, based on her upbringing, that duty must come first, that stoicism is the face one shows the world, while personal feelings are an entirely private matter, hence not to be aired in public. One must soldier on. Stiff upper lip. The English way.

According to this film narrative, Queen Elizabeth makes a serious miscalculation when she fails to consider, or perhaps even to perceive, the fact that the terms of public discourse - perhaps especially with regard to the open expression of personal sentiments - have changed radically around the world. Frank disclosure of personal feelings and issues once considered taboo for public consumption, emotional "witnessing," and even mass catharsis, have for many become the norm, displacing public stoicism, in response to poignant events. We know this from many lines of evidence, of course: confessional literature and film; the outpourings of personal tragedy and conflict on "Oprah" and a host of clone television and radio shows, and so on. But the Royals' cloistered existence very probably has always shielded them from accurately gauging the pulse of popular societal changes.

Never in recent times had there been such a worldwide wave of acute public grief over the loss of a single person, perhaps not since John Kennedy's death, as was the case of Diana, whom so many admired, revered, indeed, loved, even if from afar. The Queen documents with brilliance and power this major sea change in societal conventions, a shift that historians will undoubtedly look back upon as one of the most important and influential quakes in the tectonic annals of civil conduct.

3:

From the unsurpassed deconstruction of social class by Stephen Frears comes a prudent slice of royal British history, spanning across little more than a week of events. The death of the "People's Princess" Diana hedges the story with the ill malaise of the people turned scornfully against the Queen and her family for not grieving or acknowledging the tragedy.

The thematic conflict takes place between the obsolete old school (the Royal Family) inside the walls of Buckingham Palace and the reformist new school (newly-elected Tony Blair and the Labour Party) at 10 Downing Street, hovering between the two polarized households with stately direction. There is a point of hair-dresser gossiping tendencies in enjoying a film like "The Queen" as a candy box of intrigue is waiting to be unwrapped behind the closes walls of the monarchy, but Frears makes the content accessible to all.

Of course, "The Queen" as a person and film are not wholly grounded in reality; "Last King of Scotland" screenwriter Peter Morgan has scripted a fiction-based account of the dialogue and relations that took place in 1997, but an admirably reasonable take it is. Reality ties are not completely severed, and Stephen Frears makes the decision to further ground his film with newsreel footage interjected at common intervals and majestic steadicam shots that seems to aptly snap up the stately atmosphere of Buckingham Palace.

But "The Queen" is undeniably a custom-tailored vehicle for Helen Mirren who captures the complex nature of the titular character with stoic, dignified, purse-lipped composure. The staunch refusal to publicly speak about the event of Diana's death—nor allow for a civic funeral, nor fly the throne's flags at half-mast all alienated her immensely from her people, even though she was one of the people who grieved the most. Needless to say, this is a challenging role to inhabit, but Mirren is superb in all of her conflicted sorrow. The sum of her performance is all the little stoic details, the suppressed emotions she bottles up with a lid but which sometimes bubble up and how natural she makes "staged" appear.

It is in a way a pity that Helen Mirren's fine performance casts such a wide-ranging shadow over the rest of the cast. The film on its own may be rather lovely, but the key figure who emerges most prominently and most nobly is undoubtedly Tony Blair as portrayed by Michael Sheen, and who regrettably received next to no buzz. The fact is that Sheen is just as credible as Mirren in his own right, creating a layered and conflicted young Prime Minister with pending allegiances. Stephen Frears will always remain an actors' director and as a result the success of "The Queen" rests squarely on the apt shoulders of its cast. It's delightedly humorous in tone, practicing an unmistakable high-brow British comedy that subtly treads on the tragedy at hand.

4:

I was in college when Princess Diana died in a sensational car accident, brought about by a flock of determined paparazzi. To be honest, I didn't pay that much attention to the events going on across the pond. I was really no more than a child for much of the time that Diana was capturing the imagination of the American people, so I didn't fully understand her allure, and I certainly didn't understand, or care much, about the politics of the royal family.

So watching "The Queen," Stephen Frears' wonderfully fluid account of the few days following the death of Di and its impact on the royal family, I had the uneasy feeling one gets when he realizes that something of extreme cultural importance has happened right under his nose without his realizing it. I had much the same feeling during "Hotel Rwanda." It's the "I didn't realize all of THAT was going on" experience.

I don't know how accurate "The Queen" is, and I don't know that anyone save Her Majesty herself could know for sure. Certainly it's an awfully one-sided movie. In Frears' version of events, Tony Blair single-handedly saves the monarchy from the vitriol of the British people. It's only through his dogged determination that Elizabeth grudgingly lets go of her royal principles and gives the people what they need -- that is, a sign that the royal family is comprised of a group of people with actual blood in their veins and feelings in their hearts. Michael Sheen, an unfamiliar actor to me, plays Blair beautifully; his performance goes beyond mere mimicry and conveys both the exhilaration and overwhelming sense of responsibility felt by a man who happens to find himself in a job for which he happens to be perfectly suited at one of the most critical moments in his country's history.

But though everything is greatly slanted toward Blair, the film does a good job of cluing us in to Elizabeth's point of view as well. Here's a lady who inherited a job she did not choose, and who by the very nature of that job is turned into a media spectacle against her will. It's important to remember that during the moments when her and her family's callousness toward Diana and her death borders on the inhuman; in their minds, Diana played a large role in her own death, and payed a fair price for the stardom she received in return. In Elizabeth's mind, the way the British people behave smacks of hypocrisy; they cry out for blood for the media that caused Diana's death, yet want to hang the royal family for not putting themselves and their grief on display.

Navigating the tricky waters of this tricky part is one of our greatest living actresses, Helen Mirren. Because I like her so much, it gives me great pleasure to say that her performance lives up to its hype. She gives what is so rare in films these days -- a tour de force of expert acting. Just watch her face and gestures throughout this film for the tiny nuances that speak volumes. Mirren has been buzzed about as the front-runner for this year's Oscar race since this movie opened, and for once I find the buzz completely justified. The Academy has a chance to show the world that it can, against all appearances to the contrary, recognize true art and talent when it sees it, so of course they'll probably botch things and give the award instead to a glamour puss who will look better on the cover of "People" magazine. But Mirren I'm sure will be the winner in many people's hearts regardless.

Frears keeps things moving along with quick editing and a fantastic, staccato score whose effectiveness rests on its judicial use. There's something disorienting yet exciting about watching a movie about people who are alive and well, and still serving in the same roles as their fictional selves on screen. In some ways, "The Queen" feels like it should have come out last year, when a number of other relevant, terse and immensely engrossing films flooded the screens. Though if it had, it would have been one great film among many, whereas this year is has quickly risen to the cream of the crop.

5:

No matter who you are, what's your political stand, or your social status, if any. You won't to turn the page or look away from the TV set if there is a piece of news concerning the royals, the British Royals in particular. I think it's human nature so there is nothing we can do about it. That's why it's amazing to realize that the Queen didn't quite understand that and how powerful and moving her surrendering to the fact. I don't know how to describe Helen Mirren's portrayal but I'm tempted to say already (I only saw the film last night) that is among the best I've ever seen. Riveting, totally fulfilling. The illusion is complete and without mockery or mimicry Helen Mirren gives us a full picture of someone who only exists in our minds as a title and in a series of constantly repeating images - hats, smiles, hand waves and holiday greetings from a TV screen - Congratulations to everyone concerned. A total triumph.

问题3：The Shawshank Redemption的英文影评要深刻的要着重于某个方面讲的广的也可以[英语科目]

Can Hollywood,usually creating things for entertainment purposes only,create art?To create something of this nature,a director must approach it in a most meticulous manner,due to the delicacy of the process.Such a daunting task requires an extremely capable artist with an undeniable managerial capacity and an acutely developed awareness of each element of art in their films,the most prominent; music,visuals,script,and acting.These elements,each equally important,must succeed independently,yet still form a harmonious union,because this mixture determines the fate of the artist's opus.Though already well known amongst his colleagues for his notable skills at writing and directing,Frank Darabont emerges with his feature film directorial debut,The Shawshank Redemption.Proving himself already a master of the craft,Darabont managed to create one of the most recognizable independent releases in the history of Hollywood.The Shawshank Redemption defines a genre,defies the odds,compels the emotions,and brings an era of artistically influential films back to Hollywood.

The story begins with the trial of a young banker,Andy Dufrense,victimized by circumstantial evidence,resulting in a conviction for the murder of his wife and her lover.After a quick conviction,Andy finds himself serving a life sentence at Shawshank prison,with no hope of parole.He exists in this prison only in appearance,keeping his mind free from the drab walls around him.His ability to do this results in the gaining of respect from his fellow inmates,but most of all from Ellis Redding.Ellis,commonly referred to as Red,finds gainful use of his entrepreneurial spirit within the drab walls of Shawshank by dealing in contraband and commodities rare to the confines of prison.Andy's demeanor and undeniable sense of hope causes Red to take a deeper look at himself,and the world around him.Andy proves to Red and the other inmates that in the conventional walls of Shawshank prison convention will find no home in his lifestyle.

By creating the film's firm foundation,the meticulously chiseled screenplay paved the way for this film's success.Frank Darabont outdoes himself with the phenomenal adaptation of Stephen King's equally noteworthy novella,Rita Hayworth and Shawshank Redemption.In this novella,King demonstrates that he can break free from the genre he dominates and still create a marvelous piece of modern literature.Though the film mirrors the novella in many ways,Darabont illustrates a focused objective of improving upon the areas where the novella came up short,resulting in one of the best book to film transitions ever.

While maintaining some of the poetic and moving dialogue of the novella,Darabont also proves that a film's score can generate a great deal of emotional response from its audience,as dialogue does.He employs the cunning Thomas Newman,son of the legendary Hollywood composer,Alfred Newman.Darabont shows recognition for the film's needs by employing Newman,who makes the gentle piano chords whisper softly to the viewer,as if a part of the scripted dialogue.Newman lends himself to individualism and tends to drive more towards the unique in the realm of score composition.His effort in Shawshank did not go unnoticed,as his score received an Oscar nomination in 1995.While unique and independent,Newman's score never once intrudes on your concentration or distracts from the film.

With work from vast array of talented scene designers,costume designers,composers,cinematographers,and various other Hollywood artists,the cast of The Shawshank Redemption had a strong foundation to work with.The marvelous cast of this film will dazzle you with some of the most convincing performances you will witness in a film.While both Tim Robbins and Morgan Freeman shine as Andy and Red,respectively,the true spectacle of acting lies within the plethora of amazing supporting actors who easily disappear into their roles.Most noticeable of these,the veteran film star James Whitmore,who portrays the elderly Brooks Hatlen.Brooks,a man incarcerated for an unmentioned crime for so long that he finds himself attached to the Shawshank and the daily life he has lead.Each of these actors show a true dedication to their art,and a focused purpose in their motivations,creating a convincing setting that never once caters to anything unbelievable.

With all of the aesthetic touches and attention to cinematic detail,the most beautiful part of the film lies within its thematic material,such as its focus on the human desires for the most abstract concepts,like hope and freedom.These themes,which concern things the human spirit undoubtedly yearns for,seem so intricately woven into the plot that it easily draws its audience in to its story.Though full of hardened criminals,your heart will go out to these men as they display the most basic of human emotions,and deliver some of the most quotable lines in a film to date.Like a great novel,this film manages to succeed at greater things than simply entertaining an audience.Darabont tells his story most masterfully,illustrating principles and inspiring his audience to think.He leaves us a poignant film with a powerful message of hope,and redemption,something we all seek.

This film manages to redeem Hollywood in the eyes of people who feared it long lost in a dark sea of clich茅s and predictability.Darabont shows us that artists still work in the Hollywood studios and production facilities.These artists show their capability to produce art; real art that inspires you to look at the deeper aspects of life and the world around you.The Shawshank Redemption delivers much-needed breath of fresh air for anyone who realizes the capability of film.It proves that masters of the craft still live on this earth,and still bless us with timeless masterpieces that we will never forget.

问题4：求几首好听又节奏感的英文歌,比如remember the name

　　唯美的英文歌...

　　Indescribable Night-Kate St. John 太美了,美的令人窒息,傍晚一个人躺在椅子上仰望着月光静静的听着,有种身临其境的感觉,美!

　　Should It Matter-Sissel Kyrkjeb 很纯净的女声,富有磁性的声音深深地吸引着你,一个人静静的听着,美

　　Chocolate-Kylie Minogue 很优美的旋律,非常值得一听

　　Forever-Stratovarius 吐血推荐你,曲子非常忧伤,伤的你又中自杀的冲动,沙哑的男声很有磁性

　　Dying In The Sun-The Cranberries 你应该听过,很空灵的一首歌,童声真的很纯

　　Only Time-Enya 真的很天籁,听过后才能体会到

　　One By One-Enya 恩雅的似乎都很天籁,无可挑剔

　　May It Be-Enya 很空灵,很纯净,忧伤

　　A Perfect Indian-Shead O'Connor 悲伤的歌,那悲伤的女声后面藏着无尽的忧愁

　　Bressanone_Matthew Lien 被誉为世界最伤感的歌曲,真的有些悲伤

　　轻音乐(New Age)...

　　Dream Catcher(追梦人)-班得瑞 不愧为大师

　　神秘园第一张专辑贼经典,是我每天晚上必听的 往下看

　　Nocturne(夜曲) 亲身体会下才能感觉出来

　　Pastorale(田园) 此曲只应天上有,人间难得几回闻 只能这样评价这首曲子...

　　Song From The Secret Garden(神秘园之歌) 旋律很优美很忧伤,很多背景音乐都会采用它...

　　Adagio

　　听神秘园的曲子能令你进入另外一种境界,有种身临其境的感觉,天籁啊,你是用语言无法形容的,美的令你无法自拔,美的令你窒息 暮然回首焉知那些港台,日韩流行乐其实就是垃圾一堆...

　　希望你能喜欢

问题5：第五元素的英文影评[英语科目]

THE FIFTH ELEMENT is a complex film.if you WANT it to be!It offers varying levels of analysis depending on the tools you have to dig with!On the surface,a "leave your brain in the cloakroom" sci-fi yarn,you may well find wanting!As far removed from STAR WARS as Austin Powers is from DIAMONDS ARE FOREVER.this film is pitched uniquely at those who can laugh at life but who have deep down an unquenchable desire for adventure and the romantic.

Set on a futuristic earth,where really nothing has changed except the technology,Bruce Willis is STILL John McLane,a has-been stormtrooper reduced now to driving air-cabs for a living...same old premise for him - nothing's changed much since STRIKING DISTANCE,except maybe the yellow hair-rinse.Now,legend has it that in a time long long ago,the forces of darkness visited earth and were repelled by the unification in close proximity,of four stones representing the four elements.earth,wind,fire and water together with a fifth "element" of unknown origin.

Dear old Ian Holm is Priest Cornelius,an expert authority on the five elements and keeper of all knowledge on things magical and mysterious.Gary Oldman in arguably his most way-put role is General Zorg who has done a deal with "The Dark Side" and whose sole purpose is to take possession of the elemental stones.The scene wherein he demonstrates the new weaponry to his alien henchman (from which the one-line "summary quote" above is taken) is an absolute classic of cinema.Milla Jovovich (Married to Besson at the time of the flick) is absolutely rivetting as Leeloo,the cloned/unzipped humanised fifth element.She must have practised long and hard perfecting her ancient language dialog.it's amazing.She strikes exactly the right note as a being of purity,femininity and warrior woman.As the film progresses she assumes the identitiy of the perfect girl any man would wish for and want to protect.

The comedy angle is hysterical,the action sequences in your face,and the fx generally impressive if not mega weird at times.Color and visuals play a major role in this pro-European production,the continent where not surprisingly it was most successful.The outcome naturally is predictable and in the best traditions of "will love save the day?" as if it wasn't always going to?

So,there u have it.Watch it one-dimensionally and that's what you'll get back.let it flow,immerse yourself in IT and you couldn't fail to have a good time,unless of course you are clinically dead or devoid of any sense of fun or fantasy .but in that case you'd be wasting your time anyway,it wasn't MADE for you!LS