求《紫色》The color purple的英文影评。

Taking place in the Southern United States during the early- to mid-1900s, the film follows the life of a poor African American girl, Celie Harris (Whoopi Goldberg), whose abuse begins when she is young By the time she is fourteen, she has already had two children by her father (Leonard Jackson) (later discovered to be her stepfather), who takes them away from her at childbirth and forces Celie to marry a local widower whom she calls "Mister" (Danny Glover), but his name is Albert Johnson Mister, who had his eyes on Celie's younger, more attractive sister Nettie (Akosua Busia), treats Celie like a slave, making her clean up his disorderly household and take care of his unruly children Mister beats and rapes her often, intimidating Celie into near silence and submission Nettie comes to live with them, and there is a brief period of happiness as the sisters spend time together and Nettie begins to teach Celie how to read This is short-lived, however; after Nettie refuses Mister's predatory affections once too often, he kicks her out

Mister's old flame, the jazz singer Shug Avery (Margaret Avery), for whom Mister has carried a torch for many years, comes to live with him and Celie Delirious with sickness, Shug initially insults Celie by saying "you sure is ugly" on their first meeting, but they eventually become close friends and Shug helps Celie begin to see her worth as a human being Shug and Celie also entertain a lesbian affair; this was more pronounced in the book, and is only hinted at in the film Celie also finds strength in Sofia (Oprah Winfrey), who marries Mister's son Harpo (Willard E Pugh) Sofia has also suffered abuse from the men in her family, but unlike Celie, she refuses to tolerate it This high-spiritedness proves to be her downfall, however, as a rude remark to the town mayor's wife ends with Sofia in jail

Nettie, meanwhile, has been living with missionaries in Africa and writing to Celie often Unbeknownst to Celie, Mister confiscates Nettie's letters, telling Celie that she will never hear from her sister again During a visit from Shug and her new husband, Celie and Shug discover many years' worth of Nettie's correspondence Reconnecting with her sister and the assurance that she is still alive helps give Celie the strength to stand up to Mister, threatening his life and then leaving him permanently

Celie opens up a haberdashery selling "one size fits all" slacks Upon the death of her father, she learns that he was, in fact, her stepfather, and that she has inherited a house from her real father Meanwhile, Mister's fields languish as he slips into alcohol-fueled idleness Years of guilt finally catch up to Mister, knowing he has been a horrible person most of his life, especially to Celie In a sudden act of kindness unknown to Celie, Mister takes all the money he has saved over the years, goes down to the immigration office, and arranges for a family reunion for Celie The film ends when Nettie and Celie's children, Adam and Olivia (raised in Africa), are reunited with Celie at last

如果你是喜欢紫色的人的话，应该是悲哀的人，你这种人多愁善感，爱幻想，渴望奇遇，是心理上和感情上比较不成熟的人哦．为了能够成就理想的自我，人们会在自己的生活中和别人的生活中寻求答案。由于追求完美而又对自己极为苛刻，他们也在极力与自己做着艰苦地斗争。

不过喜欢紫色的人总是能交到很多很多的朋友，因为他们总是考虑别人比考虑自己为先。总过来说他们并不会为自己要求过多，但一部分人也可能成为自我英雄主义者。这主要是由于他们喜欢以一种不确定的方式去寻求答案而往往失败，他们也会因此郁郁寡欢。

可是它代表的是高贵典雅 隐晦、忧郁、高贵、神秘、深沉、成熟、浪漫！是很神秘的颜色来的！ 无法让人猜测的`！（其实我也非常喜欢紫色的`！呵呵！）

紫色代表高贵,常成为贵族所爱用的颜色。 紫色在基督教中,代表的意义是哀伤。 紫色也代表胆识与勇气。隐晦、忧郁、高贵、神秘、深沉、成熟、浪漫

象征意义

在中国传统里，紫色是王者的颜色，如北京故宫又称为“紫禁城”，亦有所谓"紫气东来"。

紫色代表高贵，常成为贵族所爱用的颜色。缘于古罗马帝国蒂尔人常用的紫色染料仅供贵族穿著，而染成衣物近似绯红色，亦甚受当时君主所好。

紫色在基督教中，代表的意义是哀伤。

紫色也代表胆识与勇气。

紫水晶：神秘而浪漫，是唯一紫色系的宝石。它能助您开发智慧，发挥潜能；紫水晶亦代表爱情，可使对方对您爱情不渝，并可增进人缘及异性缘。

回答者：wswho - 举人 四级 6-4 21:25

华贵、高尚、阴郁、伤感

回答者：无常冥使 - 高级经理 七级 6-4 21:26

紫色 purple

由于具有强烈的女性化性格，在商业设计用色中，紫色也受到相当的限制，除了和女性有关的商品或企业形象之外，其他类的设计不常采用为主色。

紫色是波长最短的可见光波。紫色是非知觉的色，它美丽而又神秘，给人深刻的印象，它既富有威胁性，又富有鼓舞性。紫色是象征虔诚的色相，当光明与理解照亮了蒙昧的虔诚之色时，优美可爱的晕色就会使人心醉！

用紫色表现孤独与献身，用紫红色表现神圣的爱与精神的统辖领域，这就是紫色带来的表现价值。

紫色处于冷暖之间游离不定的状态，加上它的低明度性质，构成了这一色彩心理上的消极感。与**不同，紫色不能容纳许多色彩，但它可以容纳许多淡化的层次，一个暗的纯紫色只要加入少量的白色，就会成为一种十分优美、柔和的色彩。随着白色的不断加入，产生出许多层次的淡紫色，而每一层次的淡紫色，都显得那样柔美、动人。

It's said that lavenders are the soul of Provence,endowing it with special lifeIn fact,Provence and lavenders are already an entity,creating the purple dream of romance together

In the prologue to Steven Spielberg's The Color Purple, black sisters Celie and Nettie play patty-cake in a field of blue-pink flowers Celie is pregnant with her second illegitimate child, and when she has the baby, her father cruelly whisks it away to a new home, as he did her firstborn Later, her father disposes of Celie, too, giving her to Albert (Danny Glover), a vicious stranger on horseback in need of a wife Concerned with more than just lonely Celie (Whoopi Goldberg as an adult) summoning the confidence to defy Albert (less through her own sexual awakening, as in The Color Purple's source material, than through a cultivated sisterhood with the women in her orbit), the picture examines a generation of emancipated African-American men who, poisoned by the slave mentality, treat their women as Cinderellas in a misguided salvo to independence

It presents a quagmire to say that Spielberg has no business directing a film about The Black Experience, because in so doing, you are arguing that The Black Experience is singular and sub-rosa, which strikes me as racist in ways that even hiring an Aryan screenwriter (Menno Meyjes) to adapt Alice Walker's Pulitzer Prize-winning novel The Color Purple does not approach On the other hand, Spielberg can be so all-inclusive as to flatter a white audience for finding The Color Purple as catholic as it is: Caucasians are rarely seen in the film, and with racism never part of the text or subtext outside a sequence that explicitly addresses the issue, this starts to feel like denial

What Spielberg brought to the film, first and foremost, is visual sweep that feels astoundingly epic considering The Color Purple's TV-friendly aspect ratio of 185:1 While Allen Daviau's cinematography borders on precious, with many shots, as cynics were quick to point out, evoking a Mr Bluebird-on-my-shoulder day, there was nothing to be gained from taking an opposite approach; the film's picturesque qualities stand against the grim lives led by its characters to suggest something true of the balance of human experience At first I was going to pair up The Color Purple in a review with Spielberg-idol John Ford's frothy The Quiet Man, which is beautifully and similarly photographed, until I realized that I risked trivializing the former with such a coupling

The picture doesn't lack for levity, though In fact, the execution of some of The Color Purple's lighter moments provides the tidiest ammunition against Spielberg You worry, in scenes like the one in which Albert ineptly prepares a meal, that Spielberg's education in black cinema stops at "Tom & Jerry" cartoons: wanting the oven hotter, Albert retrieves a tin can marked "Kerosene" in letters big and comical, and Spielberg cuts to an empty chair that Celie has fled with split-second timing, the subsequent fireball supplying a sound effect akin to Tom or Jerry bolting from the room The bit is funny, cute, and, complete with low, headless-mammy angles, perhaps too reverent of the rolling-pin era in pre-Sidney Poitier entertainment

Still, The Color Purple is unquestionably a work of heart and soul dazzlingly performed by Spielberg's tightest ensemble since Jaws The film's final gestures of redemption on Albert's behalf bring to mind another Ford picture, The Searchers, and if that ultimately makes The Color Purple as much a paean to the cinematic past as to a black experience, at least it lends the film a sense of history you risk losing in translating Walker's archaic first-person prose for Hollywood

I wish I could muster the same enthusiasm for Kasi Lemmons' hyphenate debut, Eve's Bayou Her follow-up effort, The Caveman's Valentine, was/is an unsung gem, but as it trades on a fascination with superhero archetypes (starring Samuel L Jackson, it could be a movie within M Night Shyamalan's Jackson starrer Unbreakable), it wasn't treated with the critical or popular respect of Eve's Bayou, a coming-of-age film set in the 1960s that concerns the weathered storms of an idyllic childhood

Sharing her name with the titular bayou, a plot of land in rural Louisiana that, legend has it, was bequeathed to the black community in gratitude of slaves who nursed Jean-Louis Baptiste back to health, pre-teen mischief-maker Eve Batiste (Jurnee Smollett) prefers her smooth-talking dad, Dr Louis Batiste (Jackson), to the rest of her otherwise distaff household But one night during a soirée at the Batistes, Eve catches daddy in a compromising position with a lady not her mother; Louis talks Eve down from a subsequent panic attack (an innovative choice for the child's reaction on Lemmons' part) in a scene rich, like so many in the latter half of Eve's Bayou, with Freudian overtones Louis addresses his daughter as though she's the wronged wife: his patronizing gestures of solace constitute an apology in doublspeak--he is sorry for being indiscreet rather than for his indiscretion

Rowell in Dr Hugo

DR HUGO (out of four)

A dry run of the housecall sequence in Eve's Bayou, Kasi Lemmons' delightful, if prosaic, comedy short Dr Hugo casts the underemployed Vondie Curtis-Hall as a physician curing conveniently bed-ridden wives of their loneliness According to Lemmons' commentary with Cotty Chub, Curtis-Hall, and Amy Vincent, this sexy little movie sparked Samuel L Jackson to claim Curtis-Hall's role for his own in the feature-length reimagining right about the time that Dr Hugo's patient (Victoria Rowell) dropped 'trou The 20-minute Dr Hugo is presented in 185:1 non-anamorphic widescreen on the Lions Gate Signature Series edition of Eve's Bayou-BC

But a movie needs more than psychosexual profundities Eve's Bayou is cinematically amateurish and unfocused, violating its heroine's point of view (the adult Eve narrates the film, defining it as a reminiscence with her opening line, "The summer I killed my father, I was ten years old") with encounters and flashbacks to which she is not and could not have been privy and cutting to too many gritty black-and-white asides besides, an effect intended to underline exposition that only demonstrates Lemmons' storytelling incertitude Additionally, the picture ends on an unearned note of haunted ambiguity: instead of showing us, in a fashion that would give rise to polarized assessments organically, a pivotal incident involving Louis and Eve's older sister that informs the final third of Eve's Bayou, we watch it play out in a variety--three, to be precise--of emotional configurations (the Rashomon trope), resulting in contrived pathos Its depiction of a pre-civil rights black neighbourhood marked by affluence notwithstanding, Eve's Bayou is hardly revolutionary

One of the earliest titles to be released on video in the letterbox format, The Color Purple has always looked fine at home but never as lovely as it does on Warner's new Two-Disc Special Edition The 185:1 anamorphic widescreen transfer--it's apparently the same one used for a 1997 DVD release of the film--has not only aged well, it should also continue to age well; I defy anyone to date The Color Purple on the basis of the DVD's source print alone (If we can convince Universal to re-author 1941, there will be no such thing as an unappealing Spielberg DVD) Remixed in 51 Dolby Digital, the film's soundtrack here is pleasing to the ears though inconspicuous--Spielberg saved the fireworks for his next picture, Empire of the Sun

Laurent Bouzereau (who else) was responsible for The Color Purple's supplements, and while they are dense with clip filler, in fairness, the four featurettes on the second platter of this set contain remarkable content In the deceptively christened "Conversations with the Ancestors: The Color Purple From Book to Screen" (27 mins), author Alice Walker articulates the seeds of her book ("I had two grandparents who, when they were younger, were really horrible people"), and among other topics, she discusses her stab at a screenplay adaptation (retitled Watch for Me in the Sunset by the author, it impressed Spielberg but she ultimately withdrew the script from consideration) Spielberg admirably goes down the list of criticisms against his interpretation of the novel--he's more self-aware than you think, and he gets the last laugh, in a sense, when he points out that The Color Purple grossed a hundred simoleons at the box office even though he committed sins X, Y, and Z

The next two docs, "A Collaboration of Spirits: Casting and Acting The Color Purple" (29 mins) and "Cultivating a Classic: The Making of The Color Purple" (22 mins), were very obviously one program divided in two to keep the SAG dogs at bay (The Screen Actor's Guild began hitting studios with fees last year for talent appearing in DVD making-of material running longer than thirty minutes to the second) Oprah Winfrey, whatever off-camera personality she once had clearly absorbed by the artificiality of daytime television, nonetheless contributes great, cherished production anecdotes How she wound up with the role of Sofia is indeed the stuff of hymns

Here (in "Cultivating a Classic" specifically), Spielberg recounts Goldberg's screen test, which doubled as a trial run of his original idea to shoot The Color Purple in black-and-white using cinematographer Gordon Willis; ET cameraman Daviau soon became available and devised ingenious lighting schemes for photographing (in colour) a multiplicity of African-American skin tones within a master without reducing any of the faces to "eyes and teeth" The lone dud featurette is "The Color Purple: The Musical" (7 mins), another misnomer of sorts Producer Quincy Jones and co reflect on the period songs written for the film--The Color Purple ain't comin' to Broadway anytime soon, in other words Animated galleries of behind-the-scenes stills and cast photos round out Disc Two and the distinguished package itself

This piece refers to the 119-minute director's cut of Eve's Bayou found on a Signature Series DVD from Lions Gate (The theatrical version is 110 minutes in length) The character of "Uncle Tommy" (the closing titles were not updated to credit the man who plays him), a cerebral palsy sufferer residing in Eve's manse, is the most noteworthy restoration to the film; for a complete guide to alterations, either of Lemmons' thorough commentaries is the best reference

Actors Jackson, Smollett, Good, Lynn Whitfield, Debbi Morgan, and Vondie Curtis-Hall (Lemmons' real-life spouse) join Lemmons for one yak-track, producer Cotty Chub, editor Terilyn A Shropshire, and director of photography Amy Vincent for another Although participants in both yak-tracks tend to collapse into fits of group giggles, everything from the film's mirror imagery to performance motivations receives mention Lemmons' short Dr Hugo (see above sidebar), a trailer for Eve's Bayou, and an Easter Egg link to a commercial for Monster's Ball complete the disc The audio-visual presentation of Eve's Bayou itself is average: the 16x9-enhanced 185:1 image improves upon that of Trimark's non-anamorphic DVD, issued in the late-'90s, but it isn't on a par with many of Lions Gate's recent stellar transfers The Dolby Digital 51 mix rumbles the room intermittently-Bill Chambers

朋友,这是我转载的一篇,告诉你网址,要找英文影评以后就找准这个网站哟

http://wwwrottentomatoescom/