The Sound of Music(音乐之声)1965
How do you solve a problem like the Nazis? By becoming the von Trapp Family Singers and hoodwinking the SS with your floral costume and patriotic songs, of course
However much it may be ridiculed - its status as a Christmas TV film is legendary - there's no denying that this is one of the best screen musicals ever made. As Maria, the lapsed nun who becomes governess to the von Trapp brood and weds their rather chilly papa (Plummer) before helping them outrun the Nazis, Andrews exudes a vibrancy that's hard to resist.
But the real secret of the film's success lies in its brilliant songs ('Do-Re-Mi', 'Edelweiss', 'The Lonely Goatherd', 'My Favorite Things'), every one of them a toe-tapping classic which will buzz around your head for days. So, ignore those reservations and enjoy. Escapist films about, well, escaping, don't come any better than this.
Verdict
A film virtually immune to criticism, The Sound Of Music delights and repels with the sureness of Marmite.
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《音乐之声》观后感7篇 自由与幸福——《音乐之声》观后感 《音乐之声》这部影片实在是太美了，观后令我久久不能忘怀。剧中优美而又熟悉的音乐旋律，令我陶醉!修女玛利亚的教育理念，令我感动! 玛利亚没有接受正规的专业理论的教育，但是她能够通过自己的语言、行为让孩子们信任自己，并且使孩子接受自己。从玛利亚第一次和七个充满个性的孩子见面开始，我们就看到了她那独特的教育态度，面对孩子们的恶作剧，既没有当面指责，也没有当着家长揭穿，而是去了解孩子们恶作剧背后的原因，尤其是在受到孩子们的捉弄后，面带微笑的说：“我要感谢各位今天放在我口袋里的礼物，你们使我感到快乐和温暖。”通过这件事情的巧妙处理，让孩子们自然地把她当做一位慈祥而又容易接近的朋友、长辈看待。七个孩子由于长期的军事化管理，自由、童心、个性、甚至梦想都被压抑和禁锢，玛利亚根据孩子们的年龄和个性特点，带领他们走向社会、走向大自然，开启了他们的心灵，放飞了理想。 见习修女玛利亚爱唱歌、爱跳舞，还十分喜爱大自然。修道院院长觉得玛利亚不适合过与尘寰隔绝的生活，介绍她去萨尔茨堡当上了海军退役军官冯·特拉普上校家7个孩子
的家庭教师。 冯·特拉普妻子早逝。上校管理孩子的方法简单而粗暴。按水兵操练的要求管理孩子。玛利亚同他们建立了深厚的感情。上校准备离家去维也纳，在这期间，玛利亚和孩子们排练歌曲、做游戏、去大自然中游玩，整个家庭充满了音乐之声。 当上校带着准备与他结婚的男爵夫人回来时，发现他的“水兵们”已被训练成一支很有素养的家庭合唱队。 看到男爵夫人的到来，玛利亚知道她将成为孩子们的新妈妈，于是她留下了一封信回到了修道院。然而由于男爵夫人太一本正经，孩子们不能和她融洽相处。同时，玛利亚激起了上校对生活的热爱，唤起了他对玛利亚的爱情。于是上校拒绝了男爵夫人，到修道院找玛利亚，他们终于结成了美满的伴侣。 这时正是30年代希特勒吞并奥地利的前夕。在萨尔茨堡举行奥地利民谣音乐节的当天，上校被命令上校参加纳粹的海军，并严密监视。借着参加民谣音乐节的机会，特拉普家庭合唱队在奥地利同胞面前奉献出他们心底里的歌，并在朋友和修女们的协助下，逃出了多难的祖国，来到了自由之地。 音乐与歌声是情感的一种宣泄，人们欢乐的时候唱歌，痛苦的时候也唱歌。《音乐之声》是部音乐剧，玛利亚在不
Journey to the Center of the Earth（地心游记）2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1
励志电影《音乐之声》 基本信息 《音乐之声》(The Sound of Music)，由罗伯特·怀斯执导，朱丽·安德鲁斯、克里斯托弗·普卢默、理查德·海顿主演，于1965年上映。改编自玛利亚·冯·崔普(Maria von Trapp)的著作《崔普家庭演唱团》，最初以音乐剧的形式于百老汇上演。电影讲述了1938年，年轻的见习修女玛利亚到退役的海军上校特拉普家中做家庭教师，以童心对童心，让孩子们充分在大自然的美景中陶冶性情，上校也被她所感染。这时，德国纳粹吞并了奥地利，上校拒绝为纳粹服役，并且在一次民歌大赛中带领全家越过阿尔卑斯山，逃脱纳粹的魔掌。 影片上映后当年票房达到1.59亿美元，一举荣获第38届奥斯卡金像奖十项提名并获得影片、导演等五项大奖，写下了好莱坞影坛历史性的一页。 剧情简介 22岁的玛利亚是一个萨尔茨堡修道院里的志愿修女，但是，她活泼好动和热爱自然的性格却总是让她在修道院里惹麻烦。修女院里的女院长(Mother Abbess)觉得她这样的活泼的性格不适合僧侣生活。于是，当她接到冯·特拉普上校家寻求家庭教师的请求，她决定让玛利亚去，也借此让她探索出真正的生活目的。 玛利亚到达冯·特拉普(Captain Georg Von Trapp)家，发现他是一个有七个孩子的鳏夫(这里指丧偶的男子)，长期的海军生活和亡妻的悲伤使他对待孩子像管教士兵一样严格。很快，玛利亚就明白了以前那些家庭教师离开的原因，原来是孩子们得不到父亲的关爱，总是用捉弄教师来吸引父亲的注意。 上校要求玛利亚也像他一样严格，但是玛利亚没有听从，而是用她天生的温柔和善良赢得了孩子们的友好。趁上校不在的时候，她用窗帘给每个孩子缝制了休闲的服装，带领他们到花园水池游玩，在美
Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1
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
《音乐之声》电影音乐赏析 ——音乐触摸灵魂、记录人生 我是在高中英语课中第一次观赏《音乐之声》这部影片，影片的音乐就好像是一场洗礼, 当时就被它的音乐深深的感染！而学习过电影音乐赏析之后，以一种相对专业的眼光去审度、重温这部影片，感觉是完全不同的，此时才真正了解到音乐之于电影的真正魅力……它不仅仅再是一部简单的音乐剧，而是我们对生活的遐思与热爱…… 《音乐之声》（The Sound Of Music）取材于玛丽亚?冯?特拉普的自传----《冯?特拉普家的歌手们》，根据美国百老汇的同名音乐剧改编而成。这是美国著名导演罗伯特?怀斯和美国著名剧作家恩斯特?莱赫曼继《西区故事》（West Side Story）后再度携手的经典之作 作为一部音乐电影，不得不说的便是影片音乐的安排，两位大师的集合尤其善于在复杂的节奏中寻求一种惊人的和谐，旋律自然、流畅而简洁，但简洁中又显示出高度的技巧。片中的作曲就是这种创作风格的代表作，其中不乏许多经典歌曲。此时两位大师均处于事业巅峰时刻，开创了其雄霸百老汇近二十年的音乐剧黄金时期，他们合作的代表作还包括《南太平洋》、《国王与我》、《俄克拉荷马！》等 该影片1966年获得第38届奥斯卡最佳影片、最佳导演、最佳剪辑、最佳音效（两座小金人）和最佳配乐六项大奖以及十项奥斯卡提名；同年获得金球奖最佳电影（喜剧/音乐类）和最佳女演员(喜剧/音乐类)两项大奖以及两项金球奖提名；2001年获得美国国家电影保护局颁发的国家影片登记奖。这是好莱坞音乐电影史上不可逾越的经典，其影响力至今未减。 《音乐之声》是一部以音乐、家庭和爱情为主题的电影，故事结构紧凑，风格轻松温馨，音画一流。影片讲述了天性自由、活泼善良的实习修女Maria到萨尔茨堡当前奥地利帝国海军退役军官Captain Georg Von Trapp家当7个孩子的家庭教师的故事。在上校离家去维也纳期间，Maria用窗帘布给孩子们做了游戏服，带他们去野餐、郊游，教他们唱歌、跳舞，给这个呆板、冰冷的家庭带去了歌声和笑声。当上校带着准备与他结婚的男爵夫人回来时，看到这个家庭又重新充满了欢乐温馨的气氛，而他的“水兵们”也已被训练成了一支有素养的家庭合唱队，这激起了上校对生活的热爱，也唤起了他对Maria的爱情。在男爵夫人的介绍舞会中一支奥地利的民间舞蹈（Laendler）是彼此了解到对方的心意，关系迅速升温，而这一切都被男爵夫人看在了眼里，舞会中途退场劝Maria回修道院，玛丽亚恐怕自己对上校的感情会越陷越深，于是，她悄悄地离开了，后经心灵导师Mother Abbess 院长的开导，Maria终于再次鼓起勇气，最终找到了属于自己的真爱，之后，德国纳粹占领了奥地利。当他们晚上离开别墅的时候，被早就躲在门外监视他们的纳粹所拦，而Max的出现则为故事的结局做了完美铺垫----上校一家借着参加民谣节的机会，在朋友和修女们的帮助下，全家逃出了纳粹的魔掌。影片最后的镜头是特拉普一家爬上阿尔卑斯山，离开多难的祖国到达瑞士，曙光象征着他们新生活的开始。 《音乐之声》的剧情并不复杂，也没有所谓的宏大和壮观，但却更能走进人们的心灵。在现场聆听观赏，我深深地感到自己被许许多多的爱所包围。 片头主题音乐《The Sound Of Music》（由Maria于群山之间平原上上演唱），它洗涤着心灵，表达着她对生活的憧憬和热爱，为本部影片奠定了情感基调；而由院长和修女们演唱幽默诙谐的一曲《Maria》使观众进一步了解到女主角Maria的性格特征，起到了描绘作用，同时推动了故事情节的发展，为Maria离开教堂到军官家当孩子的家庭教师埋下伏笔；而前往军官家时的《I Have Confidence》是Maria 抛去顾虑和担心，重新获得勇气的
The Pursuit of Happiness（当幸福来敲门）2006 With a title like The Pursuit of Happiness, you expect the characters to get to the promised land. They do, but if the journey matters more than the destination, this is a movie to skip. The Pursuit of Happyness is long, dull, and depressing. It expands into two hours a story that could have been told more effectively in one. This is not the feel-good movie of the season unless you believe that a few moments of good cheer can redeem 110 minutes of gloom. Sitting through The Pursuit of Happiness is a chore. Downbeat movies aren't inherently bad (in fact, many are powerful), but this one provides artificial characters in contrived circumstances. How is it that movies "inspired by a real story" often feel more fake than those fully embedded in the realm of fiction? Will Smith has generated Oscar buzz for his portrayal of Chris Gardner, the real-life guy whose rags-to-riches story forms the basis of the movie. (Impoverished guy becomes capitalist poster boy.) While it's fair to say that this is one of the best straight performances of Smith's career, it didn't blow me away. In and of itself, the acting, while effective, is not Best Actor material, but it wouldn't surprise me if the movie's prestige factor and Smith's popularity earn him a nod. Meanwhile, his female co-star, Thandie Newton, isn't going to be considered for any award. Newton spends about 90% of her screen time doing an impersonation of a harpy: screeching, bitching, and contorting her face into unpleasant expressions. Smith's son, Jaden, is okay as the movie's child protagonist; it's unclear whether his occasional deficiencies are the result of his acting, Steven Conrad's writing, or Gabriele Muccino's direction, but there's not much personality behind the cute features and curly hair. Chris Gardner (Will Smith) is down on his luck. It's 1981 San Francisco and his self-employed business of selling portable bone density scanners isn't doing well. His wife, Linda (Thandie Newton), does nothing but yell at him and give him a cold shoulder, and the lack of domestic harmony is impacting the disposition of his beloved son, Christopher (Jaden Christopher Syre Smith). That's when Chris' life turns into a country song. His wife leaves. He is evicted from his home. He goes to jail, neither passing GO nor collecting a much-needed $200. He gets hit by a car. He is robbed. He makes his son cry. He alienates a friend over $14. He gets to spend a night in the cleanest public restroom in the history of public restrooms. But there's a bright spot, although you need a dark-adapted eye to find it. Despite having no experience, Chris applies to enter an internship program at Dean Witter. He would appear to have no chance to get in until he amazes the head of the program (Brian Howe) by solving the Rubik's Cube puzzle in the back of a taxi cab. It's a blessing that the movie doesn't use a stock villain to impede Chris' herky-jerky trip to the top, because that would have tipped the movie into the empire of the unwatchable. However, the lack of a strong conflict makes the two-hour running length seem very long. Thankfully, there's also not much in the way of overt melodrama, but that could be a byproduct of having characters who are not deeply realized and have narrow emotional ranges. It's tough to connect with Chris and his son. Although they are played by a real-life father and son, there's no chemistry between them. We're constantly told how desperately Chris loves Christopher, but it takes a long time before we begin to buy it. Most of the time, Christopher seems like an annoying piece of baggage that Chris drops off at daycare when he has other things to do. The film's most compelling scenes are those that show Chris struggling to enter the rat race. Granted, this is no Glengarry Glen Ross, but it shows the pressure these salesmen are under and how important the contact lists are. In the overall scheme of things, however, these sequences are background noise. They are neither plentiful nor lengthy. The movie spends more time following Chris on his futile sales rounds for the bone density scanner than it does accompanying him during his broker training. The moral of the story is as trite as they come: don't let anyone convince you to give up on your dreams. Disney animated films have been doing this better for decades. The Pursuit of Happyness concludes with a caption that tells us what happens to Chris after the end of the movie; it promises a better story than the one we have just watched. The film is also marred by a persistent (although not verbose) voiceover that adds nothing to the story while frequently jerking us out of the experience of watching it. I don't need Will Smith telling me: "This part of the story is called 'riding the bus.'" This is the English-language debut of Gabriele Muccino, who has made a name for himself in Italian cinema. The Pursuit of Happiness has the kind of slow, drab tone one occasionally associates with a director raised outside of the Hollywood system. What can be an asset in some circumstances is a detriment in this one. The Pursuit of Happiness isn't enjoyable, and its meager pleasures, including the eventual "payoff," aren't enough to justify the unrelenting misery. The Pursuit of Happiness is competently made and gets lots of the details right, but when it comes to the emotional core of the story, it loses the pursuit and misses the "happiness."