《少年派的奇思幻想》观后感

在派漂流的船上，斑马摔断了腿而失去自卫能力被鬣狗吃掉。母狒狒看不过鬣狗的残忍而激怒了鬣狗也相继被杀。之前的种种激烈搏斗与嘶叫吵醒了沉睡中的老虎，弱肉强食，老虎吞下了鬣狗。最后剩下的派通过智慧逃于虎口之下并与老虎对峙。

电影中虽然给出了两个版本的故事，但我认为这两个故事是相互联系的：第一个故事是真相，第二个故事是事实，第一个故事中的动物是第二个故事中人物的化身。

鬣狗杀死了斑马和猩猩（厨子杀死了水手和派的妈妈）。

老虎杀死了鬣狗（派杀死了厨子）。

老虎代表的是Pi内心深处最原始的本能。并不是真实的老虎，而人的本能也不能被简单地判定善恶，或是“需要脱离的兽性”。最终老虎无情的离开说明了本能是任何人都无法剥离的。

Life of Pi Feedback

Sent drifting boat, The zebra broke his leg and loss of self-defense capability hyenas eat. The female

baboons However hyena cruel enraged hyenas have also been killed. Before all the fierce battle bray awakened the sleeping tiger, jungle, the tiger swallow the hyena. The last remaining faction wisdom to escape under the jaws of death and confrontation with the tiger.

Film two versions of the story, but I think that these two stories are linked: The first story is the truth, the

second story is the fact that the animals in the first story is the second story characters in disguise.

Hyenas kill zebra and orangutan (cook to kill the sailors and to send mother).

The tiger killed the hyena (sent to kill the cook).

The tiger represents the most primitive instinct of Pi heart. Not a real tiger, human instinct can not be easily

judge good and evil, or out of the animalistic. Final tigers left ruthless instinct is that no one can peel.

第二篇：国王的演讲观后感英语作文 the king's speech

国王的演讲【一】

By mikey QQ:805191181

The King's Speech is one of my favourite films because it is both funny and sensitive. It is not a film just about royalty. This film is more a human story played by excellent actors at the peak of their craft. In the opening scene we can see how it will be difficult for GeorgeVI, the new king, after EdwardVIII abdicated and renounced the throne.

Is it possible to take on the responsibility of royal duties with a speech impediment ? The new king has proved it with courage and, above all, with a great wife and an excellent therapist.

The film shows his effort, his courage. There is no special effect, no action but it is exciting. When you watch the film, you are in London with the king telling: "you can do it". Moreover, the film is a visual experience with foggy streets. I do not know a lot of this period of British history but I think it is faithful to reality. Finally, I intend to watch it again as I loved it.

This is a biopic about how King George VI, the father of Queen Elizabeth II, overcame his stuttering problem. Widely

considered by all but his father unfit to be king, George is reluctantly thrust unto the throne and into the spotlight after his brother is forced to abdicate. Overshadowed on the global stage by powerful orators like Adolph Hitler and Benito Mussolini, the King relies on the help of a little-known Australian speech therapist named Lionel Logue to find his voice and courageously lead his people into the most devastating war humanity has ever faced.

This is a powerful, hilarious and deeply moving story, told against the backdrop of a critical juncture in modern history, of the emergence of a deep friendship out of a professional relationship between two men who would otherwise never have socially interacted. The screenplay, written by David Seidler (who also wrote Tucker: The Man and his Dream), is excellent. The dry British wit is hilarious. I was literally slapping my knee during some of the scenes. Tom Hooper (Elizabeth I) does a superb job directing this movie. The buildup to the climactic finale is skillfully executed and prompted the audience to erupt into spontaneous ap (Apparently, this also happened at the Roy Thomson Hall premiere.) Geoffrey Rush (Elizabeth: The Golden Age) does a fantastic job as Lionel Logue and Colin Firth (A Single Man) is excellent as King George

VI.

I saw the second public screening of this movie at the Ryerson Theater during the Toronto International Film Festival (TIFF). Tom Hooper was present to introduce the movie. He was joined by Colin Firth and Geoffrey Rush after the movie ended for a brief Q&A.

It turns out that David Seidler also had a stuttering problem as a child and drew inspiration from the king's struggle. Early in his career he wanted to write a screenplay about it. He dutifully asked the Queen Mother for permission. She agreed but told him "not in my lifetime". Little did he know she would live to be 101 and he would have to wait another 30 years.

Another interesting tidbit we learned was that near the end of the shoot, the crew finally located one of Lionel Logue's grandsons, who just so happened to live about 10 minutes away from the director. They got access to Lionel's diaries and correspondence and managed to incorporate some of it into the script.

This movie is an unqualified must see.This review may contain spoilers.What makes the movie fascinating is that it's based on a true story, and from what I heard, it's based on a play, and its biggest achievement is that it never feels stagey,

that it's entertaining, that it's got some sublime acting, mostly Firth and Bonham-Carter, though Rush is very good, too. In general, it's a nice film. The one thing that hurts it a little is the setting, the fact that had it been based on lesser humans, it might have had a stronger impact. Seeing the royal nature of things, after being exposed to so much of this type of drama in the last three or four decades, feels a bit boring. I couldn't help but noticing how hard the cinematographer tried to make it look different, and for a while I thought I had kept my shades on because the film look so dark.

Now, looking at what works, as I mentioned before Firth is spectacular, giving a very natural and human spin to what could have a tired turn. We have seen how hard actors tried to show their technical skills, and it's Firth's gift that he can make a stutter emotional and frustrating, that we see how his soul hurts, and his spirit breaks over and over, as he tries to overcome his disability. He knows where he belongs, the pressures he is under, and he hates the spotlight, and all of this is perfectly reflected in his performance. Coming in to give it an interesting balance is the subtle and affecting work by Bonham-Carter, showing an amazing range and getting further from the loud histrionics of both "Potter" and "Wonderland",

two great turns, but it's her sweet support, both in the film, and in her acting that is rewarding. She is perfectly attuned to her part and is a great partner to Firth. Both of them do act like full human beings who just happen to be royalty. She had plenty of practice before getting here. Firth is perfect in this type of role.

Coming so soon after "A Single Man", we're not truly surprised Firth could do any better. In fact, it's just a different type of role, and he handles it with so much aplomb that it feels natural, noticeable without being too much, interesting, one piece of acting that will eventually be mentioned among the best of someone's career, or of anything in the movies. In this case, it doesn't matter what the man is wearing, his soul and his pain are real, and his desire to overcome his obstacles and please those around him, most importantly his closest family and friends is what fuels the intensity of the performance. Every syllable, every gesture, every look, and every exchange between him and the other actors has a purpose and never loses its direction and focus. That is what makes the conclusion so satisfying and appeals to us. This film doesn't forget the human connection with its audience. A few years ago "The Queen" explored the inner

conflicts of a woman who wasn't sure of her station, and we have

seen "Elizabeth" and the political drama of the period, but it's

the human side that is so often neglected, and "The King's

Speech" has made sure it remains at the forefront of the main

crisis. It's critical that we like this man, regardless of who

he is, and we do. We want him to succeed, to have his "Rocky"

moment, and the question is how much are you going to enjoy the

ending? Very nice indeed.

This is based on the historical events of how in the

1930's Britain's sovereignty was faced with a leadership crisis.

King George V (Michael Gambon) is rapidly ageing and looking

for a true heir to his throne. American woman who has already been divorced and remarried. The

king's second son, Albert Frederick Arthur George (Colin Firth)

or Bertie as his family calls him, seems like a more sensible

choice but he is entirely lacking in confidence because of his

terrible speech impediment. No amount of treatment has been

able to cure Bertie of his condition. His wife Elizabeth Bowes

Lyon (Helena Bonham Carter) seeks help from an unlikely source:

a lower-class Australian speech therapist, Lionel Logue

(Geoffrey Rush). Bertie is initially reluctant because

Lionel's unorthodox approach forces him out of his comfort zone.

With the impending rise of Hitler though, Bertie begins to understand the urgency to inspire people's confidence in the British government and learns to trust Lionel.

The King's Speech, a thoroughly entertaining slice of history, is just the third feature from director Tom Hooper. Yet it has still been crafted with a particular amount of delicacy. It's been photographed by cinematographer Danny Cohen with mostly drab colours. The overarching grey skies and dark textures of Bertie's suit are some of the subtle visual devices used to convey Britain's sense of dread and uncertainty at this time. The atmosphere is complimented by the pivotal subtext of David Seidler's intelligent screenplay, specifically the way people are won and lost on what they see and hear. Bertie's father describes how politicians are now nothing but actors because of technological improvements, like the radio and the way that this has, for better or worse, drawn the public closer to the lives of their leaders. It's an idea conveyed most extensively through the progressive friendship of Bertie and Lionel, allowing the film to succeed as a historical piece and equally as a film about social interaction.

The sessions shared between Lionel and Bertie are the

most crucial aspect of the narrative and the experience of both these terrific actors make these scenes shine. Firth, a current favourite for the Best Actor Oscar, has rarely been better. He has played critically suppressed men before, like his nominated performance in A Single Man, but his performance is distinguished through a number of extraordinary physical constraints. His stammering alone is heartbreaking to watch and listen to. Yet the way Firth struggles internally with his own body, trying to wrench the words out from his lungs, is what makes his work truly powerful. There are more poignant details revealing his isolation from his family and his rivalry with his inept brother too. But his role is enhanced most significantly by his palpable chemistry with Lionel, his antithesis. Whereas Firth is appropriately contained, Rush provides a wonderful burst of energy to the film. The script offers him endless opportunities for quiet humour and his comic timing remains impeccable. "You're peculiar", Bertie tells him, to which Lionel replies so finely: "I take that as a compliment". Lionel's charisma and humour is imperative in asserting Bertie's insecurities but also the corridor through which he will draw himself emotionally closer to the common man. There are also some unexpected angles to this friendship too, like

whether Lionel is in some respects trying to influence the monarchy by coaching Bertie. In terms of writing and performances,

国王的的演讲【二】 This is truly an elegant and scrumptious movie! Everything about it feels lavish and luxurious. From the direction, production, acting and everything else! It might seem a bit as a by-the-numbers film, but believe me, it more than makes up with its high pedigree. Colin Firth is really great in his performance and completely deserved the Oscar he so rightfully won. But it is not just him, because he is anchored by a stunning and wonderful supporting cast, from Helena Bonham Carter (who should have also won a Supporting Actress Oscar) to the amazing Jeffrey Rush, Derek Jakobi, Michael Gambon, Guy Pearce and Jennifer Ehle.

While I was rooting for David Fincher to win the Oscar for Best Director, I am not sorry that Tom Hooper received it, because he deserved it just as much. Tom Hooper has been a favourite of mine for many years now. He might be best known to North American audiences for his spectacular work for HBO,

with the multiple-award winning mini-series "Elizabeth I" and "John Adams" as well as TV movies such as "Longford" and the small movie gem that was "The Damned United" with Michael Sheen. The same goes for Best Movie Of The Year. I still think that "The Social Network" should have won, but "The King's Speech" is a worthy choice also.

Beyond all the quirky episodes and soaring moments of the movie, this is at its hear a story about friendship, trust, loyalty and what those ingredients add up to in someone's life, not matter his/her station and/or position in society.

If you haven't already done so, do yourself a favour and go see this wonderful movie. These days, when everything seems to be ruled by the lowest common denominator, this movie, "The King's Speech", stands as an example of what happens when both substance and style stand for something...namely quality!