要英文肖申可的救赎的详细评论,越快越好
谁能帮我找到电影肖申可的救赎的英文材料,我要写观后感,网上找了几个小时一头雾水,不知道哪个是在评论,好像都在说别的什么事. 求各位好心人帮帮我,下个星期一就要.
楼下,我要的是英文,还是谢谢你的回答
The Shawshank Redemption (1994) is an impressive, engrossing piece of film-making from director/screenwriter Frank Darabont who adapted horror master Stephen King's 1982 novella Rita Hayworth and Shawshank Redemption (first published in Different Seasons) for his first feature film. The inspirational, life-affirming and uplifting, old-fashioned style Hollywood product (resembling The Birdman of Alcatraz (1962) and Cool Hand Luke (1967)) is a combination prison/dramatic film and character study. The popular film is abetted by the golden cinematography of Roger Deakins, a touching score by Thomas Newman, and a third imposing character - Maine's oppressive Shawshank State Prison (actually the transformed, condemned Mansfield Ohio Correctional Institution or State Reformatory).
Posters for the film illustrate the liberating, redemptive power of hope and the religious themes of freedom and resurrection, with the words: "Fear can hold you prisoner, Hope can set you free." Darabont's film is a patiently-told, allegorical tale (unfolding like a long-played, sometimes painstaking, persistent chess game) of friendship, patience, hope, survival, emancipation, and ultimate redemption and salvation by the time of the film's finale.
It was nominated for seven Academy Awards, including Best Picture, Best Actor (Morgan Freeman), Best Adapted Screenplay, Best Cinematography, Best Editing, Best Original Score, and Best Sound - but it failed to win a single Oscar. And the film's director failed to receive a nomination for himself! In the same year as Forrest Gump, Pulp Fiction, and Speed, they received all of the attention. Only through positive word-of-mouth (following cable TV and broadcast airings, and then video releases) did the film do well - although its original reception at the box-office was lukewarm. The film was the precursor for another inspirational and popular film (and a similar adaptation of a Stephen King story by writer/director Frank Darabont) - The Green Mile (1999).
To economically compress events during the credits sequence, a scene outside a cabin is intercut with a courtroom trial scene. [The year is 1946.] A Plymouth is parked outside a cabin [belonging to a golf pro engaged in an affair with an adulterous wife]. During a dark, quiet night in the wooded area near the cabin, the driver (the woman's husband) reaches for his oily, rag-wrapped gun in the glove compartment where bullets are also concealed. To fortify himself, he takes a swig of Rosewood bourbon from a glass bottle held in his lap. In the courtroom, the driver is identified as Andy Dufresne (Tim Robbins). He is interrogated by the D.A. (Jeffrey DeMunn) and charged with murder: "Mr. Dufresne, describe the confrontation you had with your wife the night that she was murdered." The well-dressed, mild-mannered defendant calmly speaks: "It was very bitter. She said she was glad I knew, that she hated all the sneaking around. She said she wanted a divorce in Reno...I told her I would not grant one." The D.A. rephrases Andy's response with his actual words:
'I'll see you in Hell before I see you in Reno.' Those were the words you used, Mr. Dufresne, according to the testimony of your neighbors.
Obviously, Andy's wife (Renee Blaine) was having an affair with Glenn Quentin (Scott Mann), the golf pro at the Snowdon Hills Country Club. According to Andy, he felt confused and drunk, loaded his gun with bullets and intended to commit the crime, but then after quickly "sobering up," he had second thoughts. On his way home, according to his testimony, he discarded his gun: "...I stopped and I threw my gun into the Royal River."
The next morning, the bullet-riddled bodies of Andy's wife and her lover - in bed - were discovered. Andy's "very convenient" (acc. to the DA) testimony and unbelievable profession of innocence, coupled with the fact that "the police dragged that river for three days and nary a gun was found," seem rather suspicious to the D.A. The water washed away all evidence of his alleged innocence.
The D.A.'s closing summary to the jury, illustrated with a brief flashback-montage of the adulterous couple's passionate lovemaking (and obvious 'sin'), also points to Andy's undeniable guilt [it looks quite likely that Andy is guilty of the crime, although he has trouble remembering]:
We have the accused at the scene of the crime. We have footprints, tire tracks. We have bullets strewn on the ground which bear his fingerprints. A broken bourbon bottle, likewise with fingerprints. And most of all, we have a beautiful young woman and her lover lying dead in each other's arms. They had sinned. But was their crime so great as to merit a death sentence?...A revolver holds six bullets, not eight. I submit that this was not a hot-blooded crime of passion. That, at least, could be understood if not condoned. No - this was revenge of a much more brutal and cold blooded nature. Consider this. Four bullets per victim. Not six shots fired but eight. That means that he fired the gun empty and then stopped to reload so that he could shoot each of them again. An extra bullet per lover, right in the head.
The "icy and remorseless" man is sentenced by the Maine judge (John Horton) to "serve two life sentences back to back - one for each of your victims." The gavel marking the sentence pounds the screen to black.
The next scene, another scene of judgment, commences with noisy, iron bars sliding open, and another door opening into a room where five men sit at a table. An unexpected scene, this is the parole hearings room of maximum-security Shawshank Prison, where a black prisoner/lifer (#30265) named Ellis Boyd "Red" Redding (Morgan Freeman) - the real hero of the story, after serving twenty years of his sentence, receives his cursory annual review [in the year 1947]. [The entire film is basically told from Red's perspective, and much of the film is centered around the theme of observation, perception and seeing - especially Red's observation of the other main protagonist, Andy Dufresne (Tim Robbins).]
Red religiously vows his rehabilitation has been accomplished - and swears - "that's the God's honest truth":
Reviewer: You feel you've been rehabilitated?
Red: Oh, yes sir. Absolutely, sir. Yeah, I've learned my lesson. I can honestly say that I'm a changed man. I'm no longer a danger to society. That's the God's honest truth.
A mechanical stamp marks "REJECTED" in red ink on his parole records. [The picture in his parole document is that of Morgan Freeman's own son, Alfonso.] In the prison's exercise yard following the "same ol' s--t" review, Red begins his ubiquitous voice-over narration (of his recollections) - a world-weary, resonant voice-over that continues for the remainder of the film. He is the prison's respected retriever - who sneakily passes contraband from hand to hand:
There must be a con like me in every prison in America. I'm the guy who can get it for you. Cigarettes, a bag of reefer if that's your thing, a bottle of brandy to celebrate your kid's high school graduation, damn near anything within reason. Yes sir, I'm a regular Sears and Roebuck.
Prison sirens blast as a ritualistic prison event is heralded - the arrival of fresh, new prisoners (termed "fresh fish") in a drab-gray school bus. Red recollects back: "So when Andy Dufresne came to me in 1949 and asked me to smuggle Rita Hayworth into the prison for him, I told him - 'No problem.'" A well-orchestrated, helicopter/aerial shot, one of the most acclaimed shots in the film, moves up from the arriving bus, ascends the main tower of the gothic prison, and peers down into the prison courtyard where ant-like prisoners scurry toward the fenced-in arrival area to gawk, size up, and jeer the new arrivals during their disembarkment:
Andy came to Shawshank Prison in early 1947 for murdering his wife and the fella she was bangin'. On the outside, he'd been vice-president of a large Portland bank. Good work for a man as young as he was.
Andy, dressed conspicuously in his banker's suit, is seated in the back of the bus. As the bus turns the corner into the prison, there are five blue-uniformed guards waiting there - the chief captain of the guard, Byron Hadley (Clancy Brown) motions the bus into position. Chained together, the prisoners exit from the bus, walk in single-file, and are lined up for inspection. Andy appears tormented and terrified as he nervously walks into his new surroundings while surrounded by shouting, taunting spectators who shake the fence. The old-timer inmates bet "smokes" on the new 'horses' and who will break first - Floyd (Brian Libby) bets on "that little sack of s--t...eighth from the front, he'll be first." Heywood (Bill Sadler) chooses "that chubby fat-ass there, the fifth one from the front." Red votes for the fragile-looking Andy ("that tall drink of water with a silver spoon up his ass" - a veiled reference to Andy's upcoming rape) at the end of the line:
I must admit, I didn't think much of Andy first time I laid eyes on him. Looked like a stiff breeze would blow him over. That was my first impression of the man.
Andy glances up at the imposing walls above him - walls that will close in on his life during two consecutive life sentences - as he is marched in. In an admitting area, the prisoners meet Mr. Samuel Norton (Bob Gunton), the self-righteous, Bible-carrying Warden:
You are convicted felons. That's why they sent you to me. Rule Number One: No blasphemy. I'll not have the Lord's name taken in vain in my prison. The other rules you'll figure out as you go along.
Hadley cusses right into the face of a disrespectful prisoner who has asked: "When do we eat?" The guard inhumanely jabs his baton into the gut of the man ("you maggot-dick motherf--ker!"). The Warden finishes his short, pompous introduction - with another reference to anal rape!:
I believe in two things - discipline and the Bible. Here you'll receive both. Put your trust in the Lord. Your ass belongs to me. Welcome to Shawshank.
To remove all vestiges of their identity (or contamination) from the outer world, the new cons are made to undress, then hosed down in a steel cage with high pressure water spray, and deloused with scoops of white delousing powder. As part of their degrading processing, they are given prison clothes and a Bible, and marched exposed and naked to their individual cells, their new homes in the cellblock - a three-tiered structure of concrete and steel.
The first night's the toughest, no doubt about it. They march you in naked as the day you were born, skin burning and half blind from that delousing s--t they throw on you, and when they put you in that cell, when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye. Nothing left but all the time in the world to think about it. Most new fish come close to madness the first night. Somebody always breaks down crying. Happens every time. The only question is, who's it gonna be? It's as good a thing to bet on as any, I guess. I had my money on Andy Dufresne. I remember my first night. Seems like a long time ago.
As part of their entertaining betting game, the inmates taunt and 'bait' the "fishees" or first-timers - and "they don't quit till they reel someone in." The one nicknamed 'Fat-Ass' (Frank Medrano) is mercilessly teased by a leering Heywood: "This place ain't so bad. Tell ya what. I'll introduce ya around. Make you feel right at home. I know a couple of big ol' bull queers that'd just love to make your acquaintance, especially that big white mushy butt of yours." When the squeamish, hyperventilating victim wails and pleads despairingly: "Oh God! I don't belong here! I wanna go home," the prisoners chant: "Fresh fish!" The oppressed 'Fat-Ass' blubbers his unheard complaints to Hadley and is beaten with an unceasing rain of baton blows and kicked in the face until he lies still on the cold floor. The captain of the guard commands his lackeys: "Call the trustees. Take that tub of s--t down to the infirmary." Red loses his cigarette bet to Heywood:
His first night in the joint, Andy Dufresne cost me two packs of cigarettes. He never made a sound.
The next morning after a head-count in front of their individual cells in the cellblock, the prisoners are marched to the mess hall for breakfast. As Andy moves through the room, one of the 'bull queer' inmates named Bogs Diamond (Mark Rolston) gives him a salacious glance. As he begins eating a scoop of oatmeal on his metal tray, Andy picks out a squirming white maggot with his fingers. A neighboring, elderly inmate Brooks Hatlen (James Whitmore) inquires: "Are-are you going to eat that?" With everyone expecting that Brooks will eat the wiggling creature, he instead offers the "nice and ripe" maggot to a baby crow (named Jake) nestled in the inside pocket of his droopy blue sweater - he is its caretaker (in its prison cage) until it matures and flies away to freedom: "Fell out of his nest over by the plate shop. I'm gonna look after him until he's big enough to fly." [Brooks with his pet crow brings to mind the film: The Birdman of Alcatraz (1962).]
Heywood gleefully gloats about winning the bet and collects cigarettes as payment from everyone: "I want 'em all lined up just like a pretty little chorus line." But his victory is won with a deadly toll and price for 'Fat-Ass' - "Dead. Hadley busted his head up pretty good. Doc had already gone home for the night. Poor bastard laid there till this morning. By then, hell, there was nothing we could do." In the communal shower room, Bogs - one of the prison's notorious Sisters (the prison's resident rapists), expresses a liking for Andy and asks him a leading question:
Hey, anybody come at you yet? Anybody get to you yet? Hey, we all need friends in here. I could be a friend to you. (Andy breaks away without responding) Hey, hard to get. I like that.
Andy's assigned job is to work in the prison laundry room, where he "kept pretty much to himself at first. I guess he had a lot on his mind, trying to adapt to life on the inside. It wasn't until a month went by that he finally opened his mouth to say more than two words to somebody." While Red plays catch in the prison yard, Andy (joking that he's "the wife-killing banker") ambles over to break the month-long silence:
Posters for the film illustrate the liberating, redemptive power of hope and the religious themes of freedom and resurrection, with the words: "Fear can hold you prisoner, Hope can set you free." Darabont's film is a patiently-told, allegorical tale (unfolding like a long-played, sometimes painstaking, persistent chess game) of friendship, patience, hope, survival, emancipation, and ultimate redemption and salvation by the time of the film's finale.
It was nominated for seven Academy Awards, including Best Picture, Best Actor (Morgan Freeman), Best Adapted Screenplay, Best Cinematography, Best Editing, Best Original Score, and Best Sound - but it failed to win a single Oscar. And the film's director failed to receive a nomination for himself! In the same year as Forrest Gump, Pulp Fiction, and Speed, they received all of the attention. Only through positive word-of-mouth (following cable TV and broadcast airings, and then video releases) did the film do well - although its original reception at the box-office was lukewarm. The film was the precursor for another inspirational and popular film (and a similar adaptation of a Stephen King story by writer/director Frank Darabont) - The Green Mile (1999).
To economically compress events during the credits sequence, a scene outside a cabin is intercut with a courtroom trial scene. [The year is 1946.] A Plymouth is parked outside a cabin [belonging to a golf pro engaged in an affair with an adulterous wife]. During a dark, quiet night in the wooded area near the cabin, the driver (the woman's husband) reaches for his oily, rag-wrapped gun in the glove compartment where bullets are also concealed. To fortify himself, he takes a swig of Rosewood bourbon from a glass bottle held in his lap. In the courtroom, the driver is identified as Andy Dufresne (Tim Robbins). He is interrogated by the D.A. (Jeffrey DeMunn) and charged with murder: "Mr. Dufresne, describe the confrontation you had with your wife the night that she was murdered." The well-dressed, mild-mannered defendant calmly speaks: "It was very bitter. She said she was glad I knew, that she hated all the sneaking around. She said she wanted a divorce in Reno...I told her I would not grant one." The D.A. rephrases Andy's response with his actual words:
'I'll see you in Hell before I see you in Reno.' Those were the words you used, Mr. Dufresne, according to the testimony of your neighbors.
Obviously, Andy's wife (Renee Blaine) was having an affair with Glenn Quentin (Scott Mann), the golf pro at the Snowdon Hills Country Club. According to Andy, he felt confused and drunk, loaded his gun with bullets and intended to commit the crime, but then after quickly "sobering up," he had second thoughts. On his way home, according to his testimony, he discarded his gun: "...I stopped and I threw my gun into the Royal River."
The next morning, the bullet-riddled bodies of Andy's wife and her lover - in bed - were discovered. Andy's "very convenient" (acc. to the DA) testimony and unbelievable profession of innocence, coupled with the fact that "the police dragged that river for three days and nary a gun was found," seem rather suspicious to the D.A. The water washed away all evidence of his alleged innocence.
The D.A.'s closing summary to the jury, illustrated with a brief flashback-montage of the adulterous couple's passionate lovemaking (and obvious 'sin'), also points to Andy's undeniable guilt [it looks quite likely that Andy is guilty of the crime, although he has trouble remembering]:
We have the accused at the scene of the crime. We have footprints, tire tracks. We have bullets strewn on the ground which bear his fingerprints. A broken bourbon bottle, likewise with fingerprints. And most of all, we have a beautiful young woman and her lover lying dead in each other's arms. They had sinned. But was their crime so great as to merit a death sentence?...A revolver holds six bullets, not eight. I submit that this was not a hot-blooded crime of passion. That, at least, could be understood if not condoned. No - this was revenge of a much more brutal and cold blooded nature. Consider this. Four bullets per victim. Not six shots fired but eight. That means that he fired the gun empty and then stopped to reload so that he could shoot each of them again. An extra bullet per lover, right in the head.
The "icy and remorseless" man is sentenced by the Maine judge (John Horton) to "serve two life sentences back to back - one for each of your victims." The gavel marking the sentence pounds the screen to black.
The next scene, another scene of judgment, commences with noisy, iron bars sliding open, and another door opening into a room where five men sit at a table. An unexpected scene, this is the parole hearings room of maximum-security Shawshank Prison, where a black prisoner/lifer (#30265) named Ellis Boyd "Red" Redding (Morgan Freeman) - the real hero of the story, after serving twenty years of his sentence, receives his cursory annual review [in the year 1947]. [The entire film is basically told from Red's perspective, and much of the film is centered around the theme of observation, perception and seeing - especially Red's observation of the other main protagonist, Andy Dufresne (Tim Robbins).]
Red religiously vows his rehabilitation has been accomplished - and swears - "that's the God's honest truth":
Reviewer: You feel you've been rehabilitated?
Red: Oh, yes sir. Absolutely, sir. Yeah, I've learned my lesson. I can honestly say that I'm a changed man. I'm no longer a danger to society. That's the God's honest truth.
A mechanical stamp marks "REJECTED" in red ink on his parole records. [The picture in his parole document is that of Morgan Freeman's own son, Alfonso.] In the prison's exercise yard following the "same ol' s--t" review, Red begins his ubiquitous voice-over narration (of his recollections) - a world-weary, resonant voice-over that continues for the remainder of the film. He is the prison's respected retriever - who sneakily passes contraband from hand to hand:
There must be a con like me in every prison in America. I'm the guy who can get it for you. Cigarettes, a bag of reefer if that's your thing, a bottle of brandy to celebrate your kid's high school graduation, damn near anything within reason. Yes sir, I'm a regular Sears and Roebuck.
Prison sirens blast as a ritualistic prison event is heralded - the arrival of fresh, new prisoners (termed "fresh fish") in a drab-gray school bus. Red recollects back: "So when Andy Dufresne came to me in 1949 and asked me to smuggle Rita Hayworth into the prison for him, I told him - 'No problem.'" A well-orchestrated, helicopter/aerial shot, one of the most acclaimed shots in the film, moves up from the arriving bus, ascends the main tower of the gothic prison, and peers down into the prison courtyard where ant-like prisoners scurry toward the fenced-in arrival area to gawk, size up, and jeer the new arrivals during their disembarkment:
Andy came to Shawshank Prison in early 1947 for murdering his wife and the fella she was bangin'. On the outside, he'd been vice-president of a large Portland bank. Good work for a man as young as he was.
Andy, dressed conspicuously in his banker's suit, is seated in the back of the bus. As the bus turns the corner into the prison, there are five blue-uniformed guards waiting there - the chief captain of the guard, Byron Hadley (Clancy Brown) motions the bus into position. Chained together, the prisoners exit from the bus, walk in single-file, and are lined up for inspection. Andy appears tormented and terrified as he nervously walks into his new surroundings while surrounded by shouting, taunting spectators who shake the fence. The old-timer inmates bet "smokes" on the new 'horses' and who will break first - Floyd (Brian Libby) bets on "that little sack of s--t...eighth from the front, he'll be first." Heywood (Bill Sadler) chooses "that chubby fat-ass there, the fifth one from the front." Red votes for the fragile-looking Andy ("that tall drink of water with a silver spoon up his ass" - a veiled reference to Andy's upcoming rape) at the end of the line:
I must admit, I didn't think much of Andy first time I laid eyes on him. Looked like a stiff breeze would blow him over. That was my first impression of the man.
Andy glances up at the imposing walls above him - walls that will close in on his life during two consecutive life sentences - as he is marched in. In an admitting area, the prisoners meet Mr. Samuel Norton (Bob Gunton), the self-righteous, Bible-carrying Warden:
You are convicted felons. That's why they sent you to me. Rule Number One: No blasphemy. I'll not have the Lord's name taken in vain in my prison. The other rules you'll figure out as you go along.
Hadley cusses right into the face of a disrespectful prisoner who has asked: "When do we eat?" The guard inhumanely jabs his baton into the gut of the man ("you maggot-dick motherf--ker!"). The Warden finishes his short, pompous introduction - with another reference to anal rape!:
I believe in two things - discipline and the Bible. Here you'll receive both. Put your trust in the Lord. Your ass belongs to me. Welcome to Shawshank.
To remove all vestiges of their identity (or contamination) from the outer world, the new cons are made to undress, then hosed down in a steel cage with high pressure water spray, and deloused with scoops of white delousing powder. As part of their degrading processing, they are given prison clothes and a Bible, and marched exposed and naked to their individual cells, their new homes in the cellblock - a three-tiered structure of concrete and steel.
The first night's the toughest, no doubt about it. They march you in naked as the day you were born, skin burning and half blind from that delousing s--t they throw on you, and when they put you in that cell, when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye. Nothing left but all the time in the world to think about it. Most new fish come close to madness the first night. Somebody always breaks down crying. Happens every time. The only question is, who's it gonna be? It's as good a thing to bet on as any, I guess. I had my money on Andy Dufresne. I remember my first night. Seems like a long time ago.
As part of their entertaining betting game, the inmates taunt and 'bait' the "fishees" or first-timers - and "they don't quit till they reel someone in." The one nicknamed 'Fat-Ass' (Frank Medrano) is mercilessly teased by a leering Heywood: "This place ain't so bad. Tell ya what. I'll introduce ya around. Make you feel right at home. I know a couple of big ol' bull queers that'd just love to make your acquaintance, especially that big white mushy butt of yours." When the squeamish, hyperventilating victim wails and pleads despairingly: "Oh God! I don't belong here! I wanna go home," the prisoners chant: "Fresh fish!" The oppressed 'Fat-Ass' blubbers his unheard complaints to Hadley and is beaten with an unceasing rain of baton blows and kicked in the face until he lies still on the cold floor. The captain of the guard commands his lackeys: "Call the trustees. Take that tub of s--t down to the infirmary." Red loses his cigarette bet to Heywood:
His first night in the joint, Andy Dufresne cost me two packs of cigarettes. He never made a sound.
The next morning after a head-count in front of their individual cells in the cellblock, the prisoners are marched to the mess hall for breakfast. As Andy moves through the room, one of the 'bull queer' inmates named Bogs Diamond (Mark Rolston) gives him a salacious glance. As he begins eating a scoop of oatmeal on his metal tray, Andy picks out a squirming white maggot with his fingers. A neighboring, elderly inmate Brooks Hatlen (James Whitmore) inquires: "Are-are you going to eat that?" With everyone expecting that Brooks will eat the wiggling creature, he instead offers the "nice and ripe" maggot to a baby crow (named Jake) nestled in the inside pocket of his droopy blue sweater - he is its caretaker (in its prison cage) until it matures and flies away to freedom: "Fell out of his nest over by the plate shop. I'm gonna look after him until he's big enough to fly." [Brooks with his pet crow brings to mind the film: The Birdman of Alcatraz (1962).]
Heywood gleefully gloats about winning the bet and collects cigarettes as payment from everyone: "I want 'em all lined up just like a pretty little chorus line." But his victory is won with a deadly toll and price for 'Fat-Ass' - "Dead. Hadley busted his head up pretty good. Doc had already gone home for the night. Poor bastard laid there till this morning. By then, hell, there was nothing we could do." In the communal shower room, Bogs - one of the prison's notorious Sisters (the prison's resident rapists), expresses a liking for Andy and asks him a leading question:
Hey, anybody come at you yet? Anybody get to you yet? Hey, we all need friends in here. I could be a friend to you. (Andy breaks away without responding) Hey, hard to get. I like that.
Andy's assigned job is to work in the prison laundry room, where he "kept pretty much to himself at first. I guess he had a lot on his mind, trying to adapt to life on the inside. It wasn't until a month went by that he finally opened his mouth to say more than two words to somebody." While Red plays catch in the prison yard, Andy (joking that he's "the wife-killing banker") ambles over to break the month-long silence:
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第1个回答 2009-03-19
观后感
《肖申克的救赎》是一部不可多得的优秀励志型影片。我个人把它作为保留影片的原因就是因为它的深远主题。它给人一种无形的力量，它让我知道人的一生中所应该拥有的最宝贵的东西。从而珍惜你现在还拥有它的机会。因为我们人类始终是这样：只有失去了，才真正意识到它的价值，才又拼命地去争取夺回来，然后又不去珍惜。希望、自由、友谊是我们最基本、最起码的感觉和需要，如果自己不珍惜，那么难道还祈求别人去珍惜和维系吗？
本片在逃狱电影中突破了类型片的限制，拍出了同类作品罕见的人情味和温馨感觉。蒂姆．罗宾斯扮演被误控杀妻而判入狱二十年的银行家，他定下了逃狱大计，但表面上不动声色，反而利用他在税务上的专业知识跟狱方职员打成一片，又跟囚犯中的老大摩根．弗里曼结成好友，从根本上改变了狱中文化。
生活就像一盒巧克力，你永远不知道你会得到什么。当一片羽毛缓缓飘荡的时候，生活被幻化成了一首优美的圆舞曲，因为不管拿到的是什么，巧克力永远都是可口的。只有《费加罗的婚礼》响起的那个一刻，所有的犯人被这恍如隔世的声音震撼了--一丝来自俗世的气息带着自由的感觉。忙着去活或是忙着去?(Get busy living or getbusydying)，《肖申克的救赎》把生命变成了一种残酷的选择。肖申克的救赎是我们简单的生活中值得一再回味的东西。相信自己，不放弃希望，不放弃努力，耐心地等待生命中属于自己的辉煌，这就是肖申克的救赎。
《肖申克的救赎》是一部不可多得的优秀励志型影片。我个人把它作为保留影片的原因就是因为它的深远主题。它给人一种无形的力量，它让我知道人的一生中所应该拥有的最宝贵的东西。从而珍惜你现在还拥有它的机会。因为我们人类始终是这样：只有失去了，才真正意识到它的价值，才又拼命地去争取夺回来，然后又不去珍惜。希望、自由、友谊是我们最基本、最起码的感觉和需要，如果自己不珍惜，那么难道还祈求别人去珍惜和维系吗？
本片在逃狱电影中突破了类型片的限制，拍出了同类作品罕见的人情味和温馨感觉。蒂姆．罗宾斯扮演被误控杀妻而判入狱二十年的银行家，他定下了逃狱大计，但表面上不动声色，反而利用他在税务上的专业知识跟狱方职员打成一片，又跟囚犯中的老大摩根．弗里曼结成好友，从根本上改变了狱中文化。
生活就像一盒巧克力，你永远不知道你会得到什么。当一片羽毛缓缓飘荡的时候，生活被幻化成了一首优美的圆舞曲，因为不管拿到的是什么，巧克力永远都是可口的。只有《费加罗的婚礼》响起的那个一刻，所有的犯人被这恍如隔世的声音震撼了--一丝来自俗世的气息带着自由的感觉。忙着去活或是忙着去?(Get busy living or getbusydying)，《肖申克的救赎》把生命变成了一种残酷的选择。肖申克的救赎是我们简单的生活中值得一再回味的东西。相信自己，不放弃希望，不放弃努力，耐心地等待生命中属于自己的辉煌，这就是肖申克的救赎。
第2个回答 2009-03-19
THE SHAWSHANK REDEMPTION
A film review by Jeff Pidgeon
Copyright 1994 Jeff Pidgeon
THE SHAWSHANK REDEMPTION is a strong debut for director Frank Darabont, a screenwriter who sold the script on the provision that he could direct it. This isn't a Film For The Ages, but it is involving and engaging for the majority of its 150-minute running time. Tim Robbins and Morgan Freeman are both fine as convicts who meet in Shawshank Prison in the late 40's and get to know each other as they do time together. The suspense mainly revolves around 1) whether Robbins will continue to survive prison life; and 2) whether he should be there at all. The script does a decent job of sustaining these elements and keeping the viewer in doubt. On the other hand, there are few moments in the story that, once they are revealed, are different than you might expect. For the most part, the satisfying option is usually chosen, the one that will make the audience happy. While this makes for an enjoyable immediate experience , the side effect is that the lack of genuine surprise makes it less enduring than you'd like. On the whole though, aside from script weaknesses and implausibilities (more than a couple), the performances are uniformly strong, if a bit two-dimensional in spots, the period feel of the art direction is thorough yet understated, Thomas Newman's score nicely supports things and is emotional without being too overpowering or treacly. For a prison drama, the violence isn't played up particlarly, but this ain't FREE WILLY, either. For the curious, SHAWSHANK makes for a good night out, as the saying goes. If the concept doesn't grab you from the start, I don't know that it would win you over. Marginally Recommended.
A film review by Jeff Pidgeon
Copyright 1994 Jeff Pidgeon
THE SHAWSHANK REDEMPTION is a strong debut for director Frank Darabont, a screenwriter who sold the script on the provision that he could direct it. This isn't a Film For The Ages, but it is involving and engaging for the majority of its 150-minute running time. Tim Robbins and Morgan Freeman are both fine as convicts who meet in Shawshank Prison in the late 40's and get to know each other as they do time together. The suspense mainly revolves around 1) whether Robbins will continue to survive prison life; and 2) whether he should be there at all. The script does a decent job of sustaining these elements and keeping the viewer in doubt. On the other hand, there are few moments in the story that, once they are revealed, are different than you might expect. For the most part, the satisfying option is usually chosen, the one that will make the audience happy. While this makes for an enjoyable immediate experience , the side effect is that the lack of genuine surprise makes it less enduring than you'd like. On the whole though, aside from script weaknesses and implausibilities (more than a couple), the performances are uniformly strong, if a bit two-dimensional in spots, the period feel of the art direction is thorough yet understated, Thomas Newman's score nicely supports things and is emotional without being too overpowering or treacly. For a prison drama, the violence isn't played up particlarly, but this ain't FREE WILLY, either. For the curious, SHAWSHANK makes for a good night out, as the saying goes. If the concept doesn't grab you from the start, I don't know that it would win you over. Marginally Recommended.
第3个回答 2009-03-19
说实话 你要是看过 就应该自己写 这是一部很经典的电影 我个人是被它的内涵深深的折服了 我看这部电影有四五遍了 但每次看 都跟第一次看一样的认真 要是我有这样一份作业 我一定会好好的自己去完成
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