求勇敢的心观后感一篇，英文的，300字左右

1

Wags enjoy razzing the 13th-century Scottish epic Braveheart, starring Mel Gibson in the role of freedom fighter William Wallace, as Die Hard in a kilt Wait till they get to the knobby question of how Gibson's knees stack up against Liam Neeson's in Rob Roy No matter Gibson gets the last laugh Braveheart resists glib categorization This rousing, romantic adventure is laced with sorrow and savagery The audacity Gibson shows as the film's director extends to the running time, which is nearly three hours Hamlet, with Gibson playing the melancholy Dane, was shorter, and Braveheart isn't Shakespeare Don't panic Though the film dawdles a bit with the shimmery, dappled love stuff involving Wallace with a Scottish peasant and a French princess, the action will pin you to your seat With breathtaking skill, Gibson captures the exhilaration and horror of combat in some of the most vivid battle scenes ever filmed

Wallace was knighted for leading his people in the fight against domination by England Few facts are known about his personal life, which frees Gibson and screenwriter Randall Wallace (no relation) to run with the legend passed down mostly from the rhyming verse of a poet known as Blind Harry It's a shame that Harry predates Hollywood by five centuries -- he could have made a killing cranking out kick-ass crowd pleasers

Gibson's Wallace is a potent blend of Robin Hood, Attila the Hun and, yes, the wags were right, Detective John McClane in Die Hard Wallace could relate to any story that pits one pissed-off fighter against the system He faced an English army led by bad-to-the-bone King Edward the Longshanks, played by Patrick McGooban in a classic portrait of slithering sadism Wallace also had to inspire Scottish peasants and nobles to follow his lead against daunting odds

It's a ripping yarn, and Gibson could have slid by with the usual hack heroics Kevin Costner's Robin Hood: Prince of Thieves did just that and still earned a pile Gibson does it the hard way with attention to detail He has retained the keen eye for character he showed in The Man Without a Face, his promising 1993 directing debut Wallace doesn't spring to life as a full-blown legend, though he does speak Latin and French when he returns to his village in Scotland to settle down as a farmer and marry Murron (the meltingly lovely Catherine McCormack), his childhood sweetheart It's the brutal fate dished out to Murron by the English that makes the farmer an outlaw

That's when Wallace organizes the villagers into a ragtag militia Brendon Gleeson's Hamish, James Cosmo's Campbell and Alun Armstrong's Mornay register strongly, as does David O'Hara's Stephen, the Irish warrior who joins the Scottish cause The teasing camaraderie botched in Robin Hood is expertly handled here Gibson's impassioned performance as the hero who would not trade his freedom for English gold doesn't shrink from showing the barbarian who emerges at a call to arms

"Are you ready for war" Wallace shouts to his outnumbered troops at Stirling It's the film's first major battle scene and a triumph for Gibson Trying to stir hundreds of fatigued soldiers to action, Wallace rides his horse back and forth in a frantic effort to be heard In most historical films, the stationary star manages to move multitudes with a throaty whisper Gibson jettisons the Hollywood fakery Riding among the men, his face streaked with woad (a blue dye used to terrify the enemy) and his voice hoarse from yelling Wallace is a demon warrior crying out for vengeance

Cinematographer John Toll, an Oscar winner for Legends of the Fall, thrusts the audience into the brutal frays at Stirling, York and Falkirk Superbly edited by Steven Rosenblum (Glory), these sequences recall the blood poetry of Welles' Chimes at Midnight and Kurosawa's Seven Samurai Sophisticated weaponry was centuries away The Scots used hammers, axes, picks, swords, chains and even farm tools to crack skulls as they battered the English in the mud They also set oil traps on the ground to burn their enemies, though shields and chain mail offered scant protection against the rain of English arrows "Quite the lovely gathering" says Longshanks, surveying the carnage and dispatching his officers to send in Irish volunteers instead of expert English archers "Arrows cost money," he sneers

Gibson's handling of Wallace at war is so thrillingly done that one regrets the subplots that distract from the action Wallace's flirtation with the king's French daughter-in-law, Princess Isabelle (Sophie Marceau), is fanciful fluff that undercuts his undying love for Murron, and the king's homophobic revenge on his preening son, Prince Edward (Peter Hanly), and the son's boy toy, Phillip (Stephen Billington), comes off as inexplicable gay baiting Judicious cutting might have sharpened the film's focus and impact

Still, don't get your kilt in a bunch over a spectacle that provokes such lively debate about the method and madness of war Filmed with furious energy and surprising gravity, Braveheart takes the measure of a hero with a taste for blood to match his taste for honor Wallace is an inspiring, unsettling role, and Gibson plays him, aptly, like a gathering storm

2

Braveheart is an action/drama movie about William Wallace (Mel Gibson) The film is no less than amazing in any way Though the movie sports us with a 177 minute run time, it is amazing to see the interesting way in which, Mel Gibson behind the camera, works his magic As the acting is magnificent, and the war sequences are brutal and violent, the film works out as a movie which will always be remembered as a classic

The film focuses on William Wallace, growing up as a kid, his father was a fighter After his death, his uncle took him in to watch over him, and teach him how to fight When he is older though, he meets Murron MacClannough(Catherine McCormack) After he weds with her, she is murdered Now avenging her death, William sets out ot fight for his freedom, his justice and the right to live

Mel Gibson did really an amazing job on capturing the character of William Wallace Putting on the Irish accent, he shows us that he is a great actor and can do some things which we never thought he could do Behind the camrea though, Mel is a completely different kind of person He captures the fight scenes perfectly and beautifully The one thing that was done well though, was the greatly realistic violence and brutal warfare of the film The violence is spilled nicely, and realistically

3

Braveheart is another film directed by its star, Mel Gibson Close on the heels of Rob Roy, this is the second tribute to a legendary Scottish hero, this time round William Wallace, the great medieval warrior leader Though less clever than its predecessor, it is much grander in its nearly three-hour epic sweep

The obvious comparison is with Henry V (the Olivier, not the Branagh), and even though Randall Wallace may not be quite so good a screenwriter as Shakespeare, the movie can hold its own Randall Wallace calls himself the spiritual descendant of William Wallace, and he has deftly incorporated the not many known facts about his namesake, and addressed the legend with gusto and eloquence The result is an epic that, a few excessively romantic touches notwithstanding, is more realistic than most These medieval Scots live in ferocious-looking hovels, seem (at least the men) heroically unwashed, and have coiffures in which a kestrel could nest The friendly punches with which they communicate could easily kill a lesser fellow -- an Englishman, say Braveheart aims to be a thinking man's epic ``It's our wits that make us men,'' young William's da tells him, and, after da and big brother are killed by the English, Uncle Argyll continues the boy's education along similar lines Pretty soon William has turned into Mel Gibson, a young man who wants to settle down and live in peace But the English are making things hard, what with such things as ius primae noctis (in the film, more tersely but less correctly, the prima nocte) giving the English magistrate the right to deflower each lassie on her wedding night Braveheartrending business, that Finally William secretly marries the bonniest of lasses, Murron -- played by the breathtakingly beautiful and talented Catherine McCormack -- but the English get wind of it, and when she won't put out for them, slit her throat in a shattering scene irradiated by Miss McCormack's performance So William turns avenger and, by one small further step, leader of the Scottish populace (as opposed to the nobles, suborned by Edward Longshanks, the Machiavellian English king) There are plots and counterplots as the nobles sabotage William's efforts, and Robert the Bruce, who wants to help him, is prevented by his leprous father (well played by Ian Bannen), who expects the nobles to crown his son king And much, much more The love scenes are so-so, the political scenes ho-hum, but the fighting -- both individual contests and mass battle scenes -- is first-rate, barbaric, and sublime You might think that so much battle stuff would pall after a while: how much slashing, chopping, stabbing, and skewering -- not to mention mangling and incinerating -- can there be without diminishing returns Quite a bit; Gibson, to give him his due, comes up with new forms of warfare, better ways to turn charging men and horses into shishkebabs, new modes of battering down castle gates in a rain of boiling pitch from the battlements, fresh tricks to outsmart the enemy And whereas this much violence with modern weapons would be unbearable, with medieval arms it becomes heroic and exhilarating There is something appealing about Mel Gibson -- the ruggedly masculine countenance, the quick half-smile, the knack of conveying blue-eyed hurt (as when he discovers the Bruce under an enemy helmet), and a squarer-jawed determination than Dick Tracy's -- that sustains Braveheart even through the unlikely scenes with Isabelle, the Princess of Wales (indifferently played by Sophie Marceau), and through the Wallace's -- or the Gibson's -- unconvincing displays of polyglotism Add to this the beauties of Scotland, searchingly chronicled by John Toll's inexhaustible camera, the solid supporting performances among which Patrick McGoohan's sardonic-sadistic Edward I is especially noteworthy (never before have terminal consonants been drawn out to such ironic length), and the intelligently deployed music by James Horner A Scottish acquaintance, George Campbell, questions the use of the sweeter uilleann (Irish) bagpipes rather than the fiercer Highland ones during the battle scenes, but these scenes are so exciting Horner could have used marimbas and I wouldn't have noticed The film put me in mind of a four-line poem by Scotland's greatest modern poet, Hugh MacDiarmid: The rose of all the world is not for me I want for my part Only the little white rose of Scotland that smells sharp and sweet -- And breaks the heart And that is high praise

4

What is there that can be said about Braveheart that hasn’t been said before It’s an epic movie that ought to be in the conversation about the best films of the past thirty years And actually, “epic” might be too small of a word Braveheart is as much about the inner drama of William Wallace as it is about the life-and-death drama of the war for Scotland’s independence in the late 13th, early 14th centuries It’s a story told on a grand scale with a great deal craft – and flair (and humor) This is a movie that offers both style and substance It’s a direct precursor to the success of the Lord of the Rings movies – indeed, one can argue that the success of Braveheart set the stage for those films True, Braveheart may not have universal appeal in terms of genre, story, or its brutal portrayal of war But there can be little doubt of the value of a film that is, simply, one of the best I have ever seen

The success of the film rests on the balance with which the story unfolds Put simply, there’s something here for everyone: romance, action, character, philosophy, conflict, cinematography, great lines, music, and so on … and it all fits together almost flawlessly I’m sure if you looked hard enough you could find fault with some parts of the movie, but considering its nearly three-hour run time it manages to avoid pitfalls remarkably well

This is William Wallace’s story And through him, the audience is allowed a mirror with which to view itself This is the true measure of a great story: its ability to not only provide commentary, but also to provoke introspection And that happens here quite often One of the film’s most quoted lines is “Every man dies, not every man really lives” Within just those seven words there is a great deal of thought and sentiment It encapsulates a philosophy, a raison d’être, that anyone can immediately identify with And it’s a beautiful philosophy – like carpe diem And it encourages us to find the purpose and meaning within our lives on a daily basis

This is also a love story, between William Wallace and Murron – a childhood friend Theirs is a story that flows effortlessly from childhood tragedy and bonding, to adulthood romance and marriage Indeed, it is Murron’s murder that proves to be Wallace’s motivation to launch his personal war against England whose king, Edward ‘the Longshanks’ is portrayed with a powerfully brutality in the film, making him a very compelling villain

Wallace’s quest is joined by a cast that is quite adept in their roles There are hardly any weak links in the acting of this movie, which means that the underlying themes and conflicts are portrayed to maximum effect from start to finish Mel Gibson’s directing certainly has to be credited for some of that success

This is, without question, Gibson’s film And it’s not without a certain part of vanity from the lead actor and director If you were looking for a critique, this would be the most fertile ground for it But for the most part, whatever vanity Gibson may have been displaying is overshadowed by the craft of everything else The action is riveting, the dialogue is crisp (and profound) and the music is deeply, deeply moving

James Horner’s score successfully taps into the heritage of Scotland while displaying a full orchestral presentation The instrumentation and arrangements are all very well done, from wavering flute to the bagpipes to the thunderous percussion during battle sequences

5

I used to think that the history of Scotland around the end of the thirteenth century was one of those really complicated and messy affairs that could send any historian into a fit of sobbing So imagine my surprise as I discovered it's really all about a bunch of rowdy guys mooning each other across a battlefield and then playing dodgeball

"Braveheart" is one of those audacious films that implies that war is "bad" by putting the violence at the forefront, slowing it down and tossing in lots of extra blood, piercings, stabbings, castrations, amputations and assorted mutilations with random insertions of Mel's butt -- just to make sure that the women get into it too This is all topped off by a really long and protracted moment where the camera lovingly dotes on Mel Gibson as he is taken to a platform to be tortured It's the kind of moment that makes preschoolers point to the screen and say, "Christ figure! Christ figure!" Either that or: "Look! He's shamelessly grooming himself for the Oscars!" (Oscar committees love Christ figures)

After three delirious hours the message is clear: Buy an ax, kill a lot of people, wear a kilt, show your butt, screw a princess and (if you have some time left over) repeat this over and over and over and over and over until you get caught If ever a movie cried out for a halftime break, this was it

内容简介

小说题目“名利场”取自班扬的寓言小说(天路历程)。主要情节可分两条线索。一条线索描写已故穷画师的女儿蓓基在离开平克顿女子寄宿学校后，暂住在富家**爱米丽亚家中，企图勾引爱米丽亚的哥哥以进入上流社会。此事失败后，蓓基去毕脱·克劳雷爵士家当家庭教师，同时施展逢迎、拍马和勾搭等乖巧手段。而当毕脱丧偶后向蓓基求婚时，她却已秘密嫁给了爵士的儿子罗登。另一条线索写纯洁的姑娘爱米丽亚钟情于轻浮空虚的军官乔治·奥斯本，冲破重重障碍终于和他结婚。但丈夫很快就厌弃她，另寻新欢。爱米丽亚一味痴情，即使在丈夫死后仍不肯改嫁。最后，蓓基道出乔治生前曾约自己私奔的事实，爱米丽亚才另结了婚。蓓基后来又与年老丑陋的斯丹恩勋爵私通，因私情为丈夫窥破而遭抛弃。而斯丹恩则误以为罗登夫妇设局诈骗，也与蓓基一刀两段，蓓基就此潦倒。她晚年从另一情夫约瑟夫手中得到一笔遗产，开始热心于慈善事业。

作者萨克雷在小说中栩栩如生地勾勒出一幅现实中的名利场的画面，把生活中尔虞我诈、欺骗背叛、势利虚荣等丑恶行径表现得淋漓尽致。作者最后写道：“啊!虚荣中的虚荣!在这世界上我们又有谁是幸福的呢我们又有谁如愿以偿了呢而就算如此，又有谁满足了呢”

Shakespeare as Britain's most outstanding Renaissance masters, Marx was known as the "greatest drama of the gifted" Shakespeare's works is almost a tragedy in the world, "Romeo and Juliet" Millennium sung a thousand tears flow; "Hamlet" a happy prince of melancholy is not too shocked a large number of people but his comedy is also worth Time to read

Shakespeare's plays, "The Merchant of Venice" is to explore the old money and timeless topics Money is the world's most valuable things you There is something even more precious than money Rich and moving story of family ties, love and pay for the Acura, witty dialogue, the plot turn, exaggerated the circumstances of Comedy, romance and legend is full of color Is intertwined with friendship, love, love the world and lead us to understanding what is important in life, the value of humor a vehicle of a deep connotations!

《李尔王》也是威廉·莎士比亚四大悲剧之一，叙述了年事已高的李尔王意欲把国土分给3个女儿，口蜜腹剑的大女儿高纳里尔和二女儿里根赢其宠信而瓜分国土，小女儿考狄利娅却因不愿阿谀奉承而一无所得。前来求婚的法兰西国王慧眼识人，娶考狄利娅为皇后。李尔王离位，大女儿和二女儿居然不给其栖身之地，当年的国王只好到荒郊野外……考狄利娅率队攻入，父女团圆。但战事不利，考狄利娅被杀死，李尔王守着心爱的小女儿的尸体悲痛地死去。

《李尔王》真实地反映了资本主义世界资本原始积累时期动荡不安的英国社会的面貌，也是作者对专制王权的批判和对人性的歌颂。受狡诈冷酷的女儿和阴险残暴的女婿的虐待，李尔由专横暴虐、刚愎自用的统治者，一下子变成了“流浪的叫花子般的国王”，这个过程具体地反映了文艺复兴晚期封建阶级走向衰亡的历史。葛罗斯特受到作为冒险家、阴谋家的儿子陷害后所说的“城市里有暴动，国家发生内乱，宫廷之内潜藏着逆谋；父不父，子不子，纲常伦纪完全破灭”这番话，正点出了封建主义解体、资本主义兴起的过渡时期封建伦理道德趋于崩溃，人与人之间赤裸裸的金钱关系替代旧的纲纪伦常的历史真实。

剧本真实地反映了广大人民的苦难。李尔王流落荒郊，饱尝暴风雨袭击的苦楚，随着地位的改变，他不由联想起成千上万无家可归的穷人。他激动地说：“衣不蔽体的不幸的人们，无论你们在什么地方，都得忍受这样无情的暴风雨的袭击，你们的头上没有片瓦遮身，你们的腹中饥肠雷动，你们的衣服千疮百孔，怎么抵挡得了这样的气候呢？”这段话真实地揭示了圈地运动中失地农民流落异乡、饥寒交迫的惨状。

剧本还通过李尔王的小女儿考狄利娅等正面形象，宣扬了人和人应该和谐真诚、应该尊重人格、应该平等相待的人文主义思想。但李尔的疯狂致死、考狄利娅的被害和葛罗斯特的流浪等结局，又为作品抹上了浓重的忧郁色调。

"King Lear" is also one of William Shakespeare's tragedy of four, describes the age of King Lear desire of the territory assigned to three daughters, the eldest daughter Koumifujian Gauna Lille and Ronald Reagan won his second daughter and Chongxin Divide up the land and daughter do not want to test because of Dili Ya Ayu flattery and nowhere The French king to marry him eye know, married to Queen's test Dili Ya King Lear from the place, daughter and daughter do not even to their home, the then King had to Huangjiaoyewai…… test Dili Ya Leads scored, father and daughter reunited However, unfavorable war, test Dili Ya was killed, King Lear Shouzhe the beloved daughter of the dead bodies of grief

"King Lear" truly reflect the primitive accumulation of capital of the capitalist world during the turbulent landscape of British society, is also the author of the autocratic monarchy of criticism and the praise of human nature The cunning and insidious cold-blooded daughter of the brutal son-in-law of abuse, arbitrary brutality by Lear, Gangbiziyong the ruler of all of a sudden become a "stray Jiaohua Zi as the King", a process specific to the late Renaissance reflects the feudal class To decline in history Geluosite be as adventurers, Yinmou Jia's son said after the trap, "a city riots, the country has seen civil strife, hidden within the palace seeking the inverse; father not the father, not son of, Ji Gang Chang-lun completely shattered" Fan, punctuality to the disintegration of the feudal and capitalist enthusiasm for the transitional period collapse of feudal ethics, human relations naked money Jilun replace the old program's history often true

The script truly reflect the majority of the suffering of the people King Lear living Huangjiao, have suffered a storm of attacks pains, with the change in status, he was not associated with tens of thousands of homeless poor He excitedly said: "The clothes do not Biti of the unfortunate people, whether you in any place have to put up with this relentless storm of attacks, you have no head of the body-a shelter, your unborn intestinal thunderous hungry, your clothes Qianchuangbaikong, how to resist such a climate it had «" This statement reveals the real Enclosure Movement of landless peasants Liulayixiang, Jihanjiaopo the Canzhuang

The script through King Lear's youngest daughter, such as Dili Ya test positive image to promote a harmonious and the people should be sincere and should respect the character, should be equal treatment of humanist thinking But Lear's crazy to death, examination of victims and Geluosite Dili Ya vagrants, and other outcome, is applied to works cast a dense melancholy hue

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