教父英文影评

教父英文影评 篇一:教父英文影评 Godfatherreview ROGEREBERT We know from Gay Talese”s book Honor Thy Father professionalmobster isn”t all sunshine roses.More often, stuffyrooms baddiet carry-outfood, punctuated brief,terrible bursts Godfather,”which br ushes aside flashyglamour traditionalgangster picture givesus what”s left: fierce tribal loyalties, deadly little neighborhood quarrels matchevery affront. remarkablething about Mario Puzo”s novel toldfrom insideout; he didn”t give us internationalintrigue, privateclub seventhgrade. Everybody knew everybody else prettyshrewd hunch what wereup movie(based scriptlabored over sometime finallygiven form, directorFrancis Ford Coppola) gets samefeel. We tend DonCorleone”s family becausewe dig gang wars, becausewe have been themfrom 1 beginning,watching them wait battlewhile sitting kitchentable eatingchow mein out papercartons. Godfather”himself centralcharacter positiongoes youngest,brightest son, Michael, who understands hisfather”s position while revising his old-fashioned ways. Godfather”srole familyenterprise hisname; he stands outside nextgeneration which hopefully,angle legitimateenterprises. Those who have read novelmay findMichael movie,instead DonCorleone. economicalway Puzostory, which dealt powerwithin family.Marlon Brando, who plays shrewd,unbreakable old man, actually has characterlead movie;Al Pacino, brilliantlydeveloped performance Brando”sperformance skillfulthrowaway, even though earnedhim AcademyAward bestactor. His voice hisphysical movements deliberately lack precision; manso accustomed longerneeds remindothers. Brando does look oldDon Corleone, mostly because partlybecause makeup,although he seems havestuffed littletoo much cotton hisjowls, making his lower face immobile. actorssupply one example after another inspiredcasting. Although long,minutely detailed movie somethree hours, naturallyisn”t time familylieutenant; Jack Woltz, movieczar; Luca Brasi, loyalprofessional killer; 2 McCluskey, crookedcop; rest.Coppola producerAl Ruddy skirt understatedtypecasting. Irishcop, simplyslide SterlingHayden charactergo about his business. Richard Castellano unshakableClemenza. John Marley makes perfectlyhateful Hollywood mogul yes,he still wakes up findhe”ll have cancelhis day largelydue unforgettablescenes. Puzo goodstoryteller, greatshakes moviegives almost everything novelexcept gynecologicalrepair job. doesn”tmiss singlekilling; DonCorleone”s daughter attendantupstairs activity); rightnumber autobombs, double crosses, garrotings.Coppola has found visuallook materialso Godfather”becomes something reallygood movie squeezed from shooteverything perioddecor late1940s) savemoney originallyplanned, bringingeverything up-to-date, moviesimply wouldn”t have worked. uncannilysuccessful periodpiece, filled sleek,bulging limousines postwarfedoras. Coppola hiscinematographer, Gordon Willis, also do some interesting things colorphotography. earlierscenes have reddish-browntint, slightly overexposed feelinglike nothing so much 1946newspaper rotogravure supplement. Although threehours long, absorbsus so effectively neverhas measuredpassage DonCorleone hands over his reins 3 wouldhave made shorter,faster moving film unseemly. Even relationshipsyou can”t quite understand unless you”ve read perhapsyou can, just characterslook eachother. GodfatherTwenty-five years” hindsight wasn”t necessary Godfather,”“Francis Ford Coppola”s classic epic Mafiafamily clear,even when movieopened Coppolahad created Americancinema. highpoint hiscareer. What we couldn”t see howwide film”sinfluence would spread. gangstermovie, familyepic movieabout Italian Americans doesn”tinevitably use morethan monument.Today, CastroTheatre launches two-weekrevival new35mm print digitallyenhanced stereo soundtrack, hisactors have taken quarter-century since movie,which MarioPuzo”s best-seller. TOUGH Godfather”s”“achievement has rendered mixed results. He only31 when he hadonly hiscredit: coming-of-agecomedy ``You”re BigBoy Now,”“ musical``Finian”s Rainbow,”“ bleakcharacter study RainPeople.”“ Based onecould have anticipated depthhe would bring itsfirst sequel two years later, ``Godfather II.”“ (Does anyone remember Coppolainvented Romannumerals moviesequels?) Trying findnew projects hisimagination egowould bring Coppola repeatedly 4 near-disaster.``Apocalypse Now”“ became 16-monthlocation shoot from hell nearlykilled him, ``One From Heart”“wiped him out financially CottonClub”“ recover,Coppola became hiredgun Outsiders,”“``Rumble Fish”“ ``PeggySue Got Married.”“ He made conventional``Tucker: HisDream,”“ overblown``Bram Stoker”s Dracula”“ mostrecently embarrassing``Jack.”“ helost his momentum dismisshim stophoping he would recapture Godfather”“magic. hisactors benchmark.Marlon Brando revived slumberingcareer hismasterful, Oscar-winning icon Don Vito Corleone thereafterbecome lazy hisprofession. CHALLENGE PACINOAl Pacino, who played morechallenging role reluctantheir Michael Corleone, has won Oscar,eight nominations neverlost his spark screen.Diane Keaton, nearly unrecognizable today hisnaive wife, Kay, biggestsurprise: brilliantcomic instincts ``AnnieHall”“ FirstWives Club”“ emotionaltransparency ``Marvin”sRoom.”“ Twenty-five years may have reordered our perceptions hiscast, basicfact hisfilm”s greatness sceneafter scene longwedding sequence, John Marley”s bloody discovery hisbed, Pacino nervously smoothing down his hair before restaurantmassacre, godfather”scollapse 5 Coppolacrafted enduring,undisputed masterpiece.篇二:教 父英文影评 教父英文 The Godfather is a gangster capitalist society about the entire U.S. ground force systems dominate the control group the story of ups and downs in the story, is very vivid characterization. Kao Liang hero and his son Michael foresight resilient, ultimately get rid of their mortal enemy of the family business to reach their peak, even though I disagree with their established set of so-called underground order, but out on the characterization of the novel heart of the Kao Liang respect to his ground forces led by Kao Liang Group is mainly engaged in smuggling of imported olive oil from Italy, opening casinos and so on. His influence throughout the U.S. East and West throughout the crucial point in the various government departments have him. He resourceful and eager to protect and support the people reverently dubbed him godfather. He is also responsive to the following, what it says, to win the people”s fear. Any thing, as long as he would secretly or openly a hand in the development and changes in accordance with his will. He is a true all-powerful figure in 6 American society. In particular his position and his humility, combined with his attitude of doing things that really awesome cool. Is what he had done to his family business success. Another novel depicts the hero Michael inherited his father”s right, he has amazing self-confidence, believe that their choice is the best, I believe that even if he is lying should be, and it is correct, so that people can hide themselves well evil, even if he were to die bad, people still admire him, and still think he is one of the best, he will not do evil things! Even Michael”s wife did not believe he would kill, but he did kill, and with his father”s carefully cultivated is certainly not live up. In our real life really is the most powerful and such a terrible person, with indomitable fighting spirit, a deep reservoir of hatred in their hearts, waiting for a suitable time to carry out long-planned program. Bear with the situation that only people can do great things, the novel his first wife for his death, even though he knows enemy”s hiding place, and the ability to kill him, but he always wait until the last of the large-scale attack on the time. He and his father are good men, at least in the kind of environment they are. 7 A lot of information that The Godfather is a nature of American society, capitalist society, no fat, to avoid exposing the underground activities of work, I do not know the author of the novel there is no such meaning, at least I have not personally see his own evaluation of the novel is so, is not that they do not know the meaning out of nothing on the Flurry of a pass, even if the meaning of this true, that such a phenomenon reflected in the story in today”s China, there is no thing in it? Our country is not capitalist ah, the jungle, and certainly there. We all have to see the mainstream! Reading this novel made me realize that no matter what kind of society can survive in the competition who is strong, this world has no absolute good or bad, in different societies exist only two kinds of people is a good man in his own eyes, the eyes of the enemy is bad, because it had different interests, and conflict of interest, these things not only exist in a capitalist country, in any society there will be. 分页:篇三:教父英文影评 User Comments (Comment on this title) 70 out of 112 people found the following comment useful:- Initially, I wasn”t a fan... but then I realised, 14 October 2006 8 Author: mattrochman from Australia This is a masterpiece. A timeless masterpiece. Initially, I didn”t like this film all that much - I found it rather over-hyped and boring. This was until the advent of DVD, which gave me the feature I needed for this sort of film: subtitles. Once I switched them on and heard (read) every last word of Brando”s ramblings and other characters ramblings, I grew a true appreciation for this epic. To make a true epic, you need all of three following ingredients working in near perfect harmony. For screenwriters who come across this, take the following pointers on board: 1) Contrasting Characters: Good films have some character distinction, but most fall rather flat because the core of each character is the same. Of course, there are exceptions to rule (ie... where you want mono-tonal characters... aka matrix; or where you want outlandish contrasts... aka The Fifth Element), but ultimately, this is what makes films deep, meaningful and grand. Consider the contrasts between the Don”s children. Michael is rather cool, rational and collected, whereas Sonny is more hot-headed, spontaneous and simple minded. But simply having these contrasts is not nearly enough. What 9 you really need to do is to develop these characters - place them in situations - and then dwell on how their character impacts on the situation they”re put in. The Godfather is a terrific example of how to pull this off. While many try to do this in screenplays, most lose the plot and create character obscurities that stretch credibility. 2) Transformation: The central character(s) must undergo a transformation, resulting in them being almost unrecognizable by the end of the film. By putting them into situations, the character”s character must not only influence the outcome of the situation; it must also have a lasting impact on the character. Consider Michael at the wedding and compare that to the Michael we see at the end of the film. Again, many films try, but most fail because they come up with unreal (literally, not praisingly) or simply moronic transformations (eg, Wall Street). 3) Patience: Men in Black 2 was an astounding film for one simple reason - it was an entire film squashed into about 70 minutes. It was not much longer than an episode of ER or Buffy. I certainly hope the new goal of Hollywood isn”t to make films as short as possible. All the great ones spend time - time developing characters, 10 family life, growth, patience with the story telling in general. This is the key (provided that the story isn”t mind-numbingly boring). Dances with Wolves, Heat.. and so on are very patient but top-class films. While studios may be lukewarm on the idea of longer films, they are worth it if you have a ripper story to base it on. I feel that this film has not dated all that much and has tremendous re-watch-ability.篇四:教父英文影评 所属栏目: 1 教父 The Godfather review by ROGER EBERT We know from Gay Talese”s book Honor Thy Father that being a professional mobster isn”t all sunshine and roses. More often, it”s the boredom of stuffy rooms and a bad diet of carry-out food, punctuated by brief, terrible bursts of violence. This is exactly the feel of “The Godfather,” which brushes aside the flashy glamour of the traditional gangster picture and gives us what”s left: fierce tribal loyalties, deadly little neighborhood quarrels in Brooklyn, and a form of vengeance to match every affront. The remarkable thing about Mario Puzo”s novel was the way it seemed to be told from the inside out; he didn”t give 11 us a world of international intrigue, but a private club as constricted as the seventh grade. Everybody knew everybody else and had a pretty shrewd hunch what they were up to. The movie (based on a script labored over for some time by Puzo and then finally given form, I suspect, by director Francis Ford Coppola) gets the same feel. We tend to identify with Don Corleone”s family not because we dig gang wars, but because we have been with them from the beginning, watching them wait for battle while sitting at the kitchen table and eating chow mein out of paper cartons. “The Godfather” himself is not even the central character in the drama. That position goes to the youngest, brightest son, Michael, who understands the nature of his father”s position while revising his old-fashioned ways. The Godfather”s role in the family enterprise is described by his name; he stands outside the next generation which will carry on and, hopefully, angle the family into legitimate enterprises. Those who have read the novel may be surprised to find Michael at the center of the movie, instead of Don Corleone. In fact, this is simply an economical way for Coppola to get at the heart of the Puzo 12 story, which dealt with the transfer of power within the family. Marlon Brando, who plays the Godfather as a shrewd, unbreakable old man, actually has the character lead in the movie; Al Pacino, with a brilliantly developed performance as Michael, is the lead. But Brando”s performance is a skillful throwaway, even though it earned him an Academy Award for best actor. His voice is wheezy and whispery, and his physical movements deliberately lack precision; the effect is of a man so accustomed to power that he no longer needs to remind others. Brando does look the part of old Don Corleone, mostly because of acting and partly because of the makeup, although he seems to have stuffed a little too much cotton into his jowls, making his lower face immobile. The rest of the actors supply one example after another of inspired casting. Although “The Godfather” is a long, minutely detailed movie of some three hours, there naturally isn”t time to go into the backgrounds and identities of such characters as Clemenza, the family lieutenant; Jack Woltz, the movie czar; Luca Brasi, the loyal professional killer; McCluskey, the crooked cop; and the rest. Coppola and 13 producer Al Ruddy skirt this problem with understated typecasting. As the Irish cop, for example, they simply slide in Sterling Hayden and let the character go about his business. Richard Castellano is an unshakable Clemenza. John Marley makes a perfectly hateful Hollywood mogul (and, yes, he still wakes up to find he”ll have to cancel his day at the races). The success of “The Godfather” as a novel was largely due to a series of unforgettable scenes. Puzo is a good storyteller, but no great shakes as a writer. The movie gives almost everything in the novel except the gynecological repair job. It doesn”t miss a single killing; it opens with the wedding of Don Corleone”s daughter (and attendant upstairs activity); and there are the right number of auto bombs, double crosses, and garrotings. Coppola has found a style and a visual look for all this material so “The Godfather” becomes something of a rarity: a really good movie squeezed from a bestseller. The decision to shoot everything in period decor (the middle and late 1940s) was crucial; if they”d tried to save money as they originally planned, by bringing everything up-to-date, the movie simply wouldn”t have worked. But it”s uncannily 14 successful as a period piece, filled with sleek, bulging limousines and postwar fedoras. Coppola and his cinematographer, Gordon Willis, also do some interesting things with the color photography. The earlier scenes have a reddish-brown tint, slightly overexposed and feeling like nothing so much as a 1946 newspaper rotogravure supplement. Although the movie is three hours long, it absorbs us so effectively it never has to hurry. There is something in the measured passage of time as Don Corleone hands over his reins of power that would have made a shorter, faster moving film unseemly. Even at this length, there are characters in relationships you can”t quite understand unless you”ve read the novel. Or perhaps you can, just by the way the characters look at each other. 2 教父 The Godfather Twenty-five years” hindsight wasn”t necessary to prove the brilliance and authority of ``The Godfather,”“ Francis Ford Coppola”s classic epic of a Mafia family in America. It was clear, even when the movie opened in 1972, that Coppola had created a landmark in American cinema. It 15 remains the high point of his career. What we couldn”t see then was how wide the film”s influence would spread. There”s barely a gangster movie, a family epic or a movie about Italian Americans that doesn”t inevitably use ``The Godfather”“ as a frame of reference. It”s more than a standard-bearer for critics and filmmakers -- it”s a monument. Today, as the Castro Theatre launches a two-week revival of ``The Godfather”“ in a new 35mm print with a digitally enhanced stereo soundtrack, it”s fascinating to consider the directions that Coppola and his actors have taken in the quarter- century since they made the movie, which was based on Mario Puzo”s best-seller. TOUGH TO MATCH For Coppola, the struggle to match ``The Godfather”s”“ achievement has rendered mixed results. He was only 31 when he was signed to direct ``The Godfather,”“ and had only a handful of features to his credit: the coming-of-age comedy ``You”re a Big Boy Now,”“ the musical ``Finian”s Rainbow,”“ the bleak character study ``The Rain People.”“ 16 Based on that work, no one could have anticipated the confidence and depth he would bring to ``The Godfather,”“ or to its first sequel two years later, ``Godfather II.”“ (Does anyone remember that Coppola invented the use of Roman numerals in movie sequels?) Trying to equal that success and find new projects as large as his imagination and ego would bring Coppola repeatedly to near-disaster. ``Apocalypse Now”“ became a 16-month location shoot from hell and nearly killed him, ``One From the Heart”“ wiped him out financially and ``The Cotton Club”“ was as empty as it was flashy. To recover, Coppola became a hired gun and delivered ``The Outsiders,”“ ``Rumble Fish”“ and ``Peggy Sue Got Married.”“ He made the conventional ``Tucker: The Man and His Dream,”“ the overblown ``Bram Stoker”s Dracula”“ and most recently the embarrassing ``Jack.”“ But even as he lost his momentum and self-assurance, it was impossible to dismiss him -- or to stop hoping he would recapture ``The Godfather”“ magic. For his actors ``The Godfather”“ was also a benchmark. Marlon Brando revived a slumbering career with his 17 masterful, Oscar-winning icon Don Vito Corleone -- but thereafter become lazy and disdainful of his profession. CHALLENGE FOR PACINO Al Pacino, who played the more challenging role of reluctant heir Michael Corleone, has won an Oscar, eight nominations and never lost his spark on screen. Diane Keaton, nearly unrecognizable today as his naive wife, Kay, is probably the biggest surprise: There”s nothing in ``The Godfather”“ to indicate the brilliant comic instincts of ``Annie Hall”“ or ``The First Wives Club”“ or the emotional transparency of ``Marvin”s Room.”“ Twenty-five years may have reordered our perceptions of Coppola and his cast, but the basic fact of his film”s greatness is undiminished. In scene after scene -- the long wedding sequence, John Marley”s bloody discovery in his bed, Pacino nervously smoothing down his hair before a restaurant massacre, the godfather”s collapse in a garden -- Coppola crafted an enduring, undisputed masterpiece. 欢迎您转载分享: 18