陈凯歌早期电影《和你在一起》经典影评

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Tess(苔丝)1979经典电影英文影评

Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1

冯小刚电影风格

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法国电影观后感

影片观后感 班级：10级音乐1班学号：101311033 姓名：张忠政本学期我选修了法国影视欣赏这门课，作为一个普通的中国电影观众，在选修这门课前，看过的外来影片，绝多数来自美国，对于法国电影知之甚少，仅有的一点模糊影响来自看过法产电影的朋友的描述，似乎法国电影就是那种阳春白雪，曲高和寡的“艺术电影”，既然是“艺术电影”必然服务于小众，对于中国这个“大众”群体，法国电影便处于被冷待的位置。 在电影王国中，法国电影绝对是不可忽视的一股力量，法国是最早发明电影的国家，1895年12月28日，法国人迷路埃尔兄弟在巴黎大咖啡馆首次公映了一些记录日常生活情景的短片，获得成功，这一天被公认是电影诞生的日子。即使如今，法国电影仍有与好莱坞分庭抗衡的资本，法国有在世界影坛具有权威与巨大影响力的戛纳电影节，以及有“法国奥斯卡”之称的法国凯撒电影奖，同时多部经典影片被当做电影学习课程。由此看来法国电影是世界电影界不可多得的瑰宝，下面我将通过我观赏过的电影，来浅谈对法国电影的认识。当然每部电影只代表其导演的风格，尤其对于具有极大包容性的法国，仅凭几个影片就对其电影做论述，这样做显然是片面的，我仅希望揭开法国电影的冰山一角，以窥其蕴含的无穷魅力。 我们对于法国电影晦涩难懂的影响不是没有依据的，将电影看做艺术的法国人，在电影上进行了几次大的运动，从艺术电影开始，到现代主义流派的创立——其中以印象派，先锋派，诗意现实主义流派最为壮大，再到对世界电影都产生巨大影响的“新浪潮”，上述这些电影艺术家的探索﹐一方面丰富了电影的表现手段和电影理论﹐另一方面也使一部分影片严重脱离广大观众的要求，刻意追求新奇。很显然我们在课上所观看的电影不属于那个年代，也不具有如此高的艺术性，这些大多是取得了较好票房能被大众接受的电影，表达内容上通俗易懂，拍摄技巧上朴实自然。在所欣赏的影片中，喜剧片占了很大一部分，也许很多国内观众对《虎口脱险》有些印象，可课上放映的喜剧片基本没有采取那种闹剧式的表达，《乡间别墅的幸福生活》《无价的女人》《给我你的手》《替身演员》等影片采取更加含蓄的方式，通篇少见波澜，似小溪潺潺，娓娓道来，往往以小人物的视角讲述，