电影爱玛的英文观后感

时间:2024.3.27

Yes I saw this movie. ExcuUuse me for having a mom.

Yes my mommy is the period piece fanatic. We have all the Jane Austin BBC series on tape. Boxed.

So in this one, Gwynnie is Emma, the town matchmaker. And although she's perfectly well intentioned, she's not terribly good at it and at the same time she is trying to figure out the man for herself.

As a mommy movie, it's quite well done. I actually didn't fall asleep. Haha. No, it was quite engaging once I set myself up to be so incredibly enthralled by the young woman's spirit! and the quest for true love--what could be nobler? Gwynnie can do English quite well, and considering she's such a socialite it's no wonder. She's also convincing both as the woman struggling to do something she thinks is both noble and neccesary and as the confused woman worried about her own match. And as the object of desire. 'Cause I gotta admit, if both Ben and Brad want her, she must be doing SOMETHING right.

I'm giving it 4 sporks under the context of mommy movie. This is certainly not for the T2 crowd

2222.

While it may not have quite the sheen or emotional weight of last year's "Sense and Sensibility," Douglas McGrath's new adaptation of Jane Austen's "Emma" has certainly captured its elegantly comic possibilities. And much of the credit must go to McGrath's casting of the eminently luminous Gwyneth Paltrow as the title character. Paltrow is natural and charming, and she also perfectly embodies the screwball sensibilities at work here. (Think Carole Lombard, or perhaps the young Katharine Hepburn.)

Emma Woodhouse is, of course, the queen bee of busybodies, forever meddling in everyone else's love life, yet quite unable to figure out her own.

Wealthy, patrician, witty and more than a little self-absorbed, Emma decides to develop her inherent "gift" for matchmaking. And as her primary subject, she takes Harriet Smith (Toni Collette) under her wing. So Harriet, a country bumpkin who feels flattered at Emma's attentions, breaks off her engagement to the local farmer she loves and becomes fixated instead on a local vicar (Alan Cumming) — though he seems to be more interested in Emma.

Emma also interferes with Frank Churchill (Ewan McGregor, in a role that is a far cry from the one he plays in "Trainspotting"), eligible gadabout son of a prominent neighbor — but he has some romantic notions of his own.

Meanwhile, Emma's brother-in-law, Mr. Knightley (Jeremy Northam), seems to be the only person in town who sees right through her, and he gently chides her for her foolishness.

There are quite a few more characters who touch or are touched by Emma, and while she is bound to get her comeuppance, most everyone knows that her heart is in the right place.

There's not a lot here that will surprise you, no characters who are a great deal more than they seem to be, and certainly no plot revelations designed to shock. But there is great satisfaction in the telling, in the rich

characterizations and delightful humor, as well as the lavish attention to detail and a number of sunny set-pieces.

The performances are all excellent, providing rich dimension for what could have been simple, and even silly, supporting roles. Greta Scacchi is surprisingly effective in an unexpected character part as Emma's best friend, Juliet Stevenson is hilarious as a snob who marries one of the men Emma is trying to fix up with a friend, Sophie Thompson is both funny and poignant as a nonstop chatterbox and Northam has genuine romantic chemistry with Paltrow.

Texas-born writer-director McGrath, whose previous credits — which include a stint at "Saturday Night Live," co-writing Woody Allen's "Bullets Over Broadway" and scripting the doomed remake of "Born Yesterday" — seem unlikely at best to give way to the assured period piece he has come up with here, nonetheless pulls if off as if he were himself a cultured Englishman.

But the film's success definitely rises and sets on Paltrow, who is required to carry the film on her shoulders all the way. Fortunately, she is more than up to the task.

Paltrow has managed to stand out among heavy competition in such earlier films as "Hook," "Flesh and Bone," "Jefferson in Paris," "Moonlight and Valentino" and "Seven" — but this is unquestionably a starmaking performance in a starmaking role.

Forget "Clueless," in which Alicia Silverstone played the same character, albeit in updated,

"let's-cruise-the-mall" form. This is the "Emma" of choice from now on.

And it's easily the best romantic comedy so far this year.

33.

The British read the novels of Trollope during the London blitz because his stories of Victorian life distracted them from the V-2 rockets. Maybe that helps explain the current popularity of movies based on the novels of Jane Austen: In an impolite age, we escape to the movies to see good manners.

``Emma'' is the fourth recent version of an Austen novel, after ``Persuasion,'' ``Sense and Sensibility'' and the TV adaptation of ``Pride and Prejudice.'' (As a bonus, the Beverly Hills comedy ``Clueless'' was based on the same story.) It is not about very much--about the romantic intrigues of a small group of people who will all more or less have to marry one another sooner or later, if they haven't already.

Either you are in sympathy with this material or you are not. I had to smile at an undergraduate's review of the movie, posted on the Internet, which complains that ``a parade of 15 or 20 or 8 billion supporting characters waltzes through the scenes. Each is called Mister or Miss or Mrs. Something, and each of them looks and acts exactly the same (obnoxious).'' I am not sure you can look obnoxious, but never mind. It may be that young people in a permissive age do not have sympathy for a movie in which a busybody matchmaker spends her days trying to pair off unwilling candidates for matrimony. Yet in its high spirits and wicked good humor,

``Emma'' is a delightful film--second only to ``Persuasion'' among the modern Austen movies, and funnier, if not so insightful.

Gwyneth Paltrow sparkles in the title role, as young Miss Woodhouse, who wants to play God in her own little patch of England. You can see her eyes working the room, speculating on whose lives she can improve. She takes as a project Harriet Smith (Toni Collette), a respectable young woman of imperfect pedigree, insisting that she marry the Rev. Elton (Alan Cumming). Miss Smith would much sooner marry a local farmer, but Emma won't hear of it. When the poor farmer sends Miss Smith a letter of proposal, she shows it to Emma, who sniffs, ``It is a good letter. One of his sisters must have helped him.'' Miss Smith is so uncertain of herself that she turns down the farmer, only to discover that the Reverend doesn't love her--he loves Miss Woodhouse (``I have never cared for Miss Smith,'' he tells Emma, ``except as your friend''). This should be a lesson for Emma, but she'll need more than one.

Stories like this are about manners, nuance and the way that one's natural character tugs against the strict laws of society. In a time when most people traveled little and diversion was largely limited to local parties,

three-volume novels and church services, gossip was the great pastime. Local characters were prized because they gave you someone to talk about, and ``Emma'' has its share, most delightfully Mrs. Elton (Juliet

Stevenson), who praises herself incessantly by quoting others (of her musical talent, she says, ``I myself don't call it great. I only know that my friends call it so'').

Other local color is provided by Miss Bates and her deaf mother, Mrs. Bates. (They are played by Sophie

Thompson and Phyllida Law, who are Emma Thompson's sister and mother.) Miss Bates says everything three times and Mrs. Bates never hears it, and when Emma is unforgivably rude to poor Miss Bates it is the upright Mr. Knightley (Jeremy Northam), her brother-in-law, who dresses her down, giving her a stern lecture on her responsibilities under the class system.

Emma thinks of Knightley as a brother. She is interested in the Reverend not at all. There is a dashing young bachelor in the neighborhood named Frank Churchill (Ewan McGregor) who seems cast as her beau (he rescues her when her carriage gets mired in the river, and again when she is threatened by gypsies). But he has other plans, too, and in the fullness of time Austen sees that everyone gets what they deserve, or in Emma's case perhaps rather more.

It's the romantic buried inside each of us that responds to movies like Emma. Sure, the film, like the Jane Austen novel upon which it is based, is laced with wit and sophistication. And, although it contains enough social commentary and character development to lift it well above the plane of genre romances, Emma is still primarily about lovers finding each other during a simpler age (Austen published her novels in the early 19th century).

With Emma, we're certainly not investigating virgin territory. In the wake of Persuasion, Sense and Sensibility, and A&E's stupendous Pride and Prejudice, there's not a great deal of mystery about the audience to which Emma will appeal. Although the plot differs slightly from the other Austen books-to-movies, many of the themes and riffs are the same. More than one marriage is arranged (five, to be precise), the heroine is a strong-willed woman with a disdain for social conventions, the "principal" couple doesn't find love until the closing moments, and there's at least one scene of ballroom dancing.

Emma details the matchmaking attempts of twenty-one year old Emma Woodhouse (Gwyneth Paltrow), an incorrigible meddler who believes that "there is nothing more beautiful than a match well made." After

successfully marrying her governess (Greta Scacchi) to a widower (James Cosmo), Emma sets her sights on

pairing her plain, uncultured friend, Harriet Smith (Toni Collette), with the local vicar, Reverend Elton (Alan

Cumming). Elton, however, has other ideas, as does Emma's closest male friend, Knightley (Jeremy Northam), who describes her activities as "vanity working on a weak mind [that] produces every kind of mischief." Emma herself is unattached, but, since this is a Jane Austen story, it's obvious that won't last for long. Indeed, before the two hours are up, the title character has become enmeshed in a number of romantic entanglements, and it doesn't take a genius to uncover the identity of Emma's true soul-mate.

It's possible that the storyline for Emma may seem curiously familiar to movie-goers, even those who haven't seen the previous Austen adaptations. The reason dates back to last year's Clueless. Alicia Silverstone's

star-making vehicle was a modern take on Emma, translating the characters and circumstances from England in the early 1800s to Beverly Hills in the 1990s. This straight adaptation works better, but Clueless is not without its charms.

Speaking of star-making turns, Emma is likely to open eyes to the talent of its leading lady, Gwyneth Paltrow, who gives face, form, and expression to Emma. Paltrow, who was excellent in 1993's Flesh and Bone (before moving on to films like Seven and The Pallbearer), displays the essential characteristic of an actress wishing to play a Jane Austen heroine -- the ability to shift quickly and effectively from comedy to drama. She can cry, look wistful, and deliver a biting line with equal believability.

Paltrow is supported by a fine cast. Toni Collette (Muriel's Wedding), who also appeared with her in The

Pallbearer, makes an effectively frumpy Harriet Smith. Jeremy Northam, who harassed Sandra Bullock in The Net, is an excellent choice for the dashing Knightley. Alan Cumming is suitably smarmy as Reverend Elton. Greta Scacchi and Polly Walker are underused in small roles. Sophie Thompson, in her second Austen film (she also appeared in Persuasion), plays the irritating Miss Bates a little too perfectly. Only Ewan McGregor (Trainspotting) appears miscast, although he gives the part of Frank Churchill a game try.

Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for

something lighter and breezier, it's still fun. The film runs a little longer than seems necessary, and gets off to a slow, fitful start (Douglas McGrath's screenplay is not the equal of the other Austen adaptations), but Paltrow keeps us interested until the story's inherent romantic magic begins to weave its spell.

Is the movie-going population (especially those who frequent art houses) growing weary of Jane Austen? It's hard to give a definitive answer at this time, but, judging from the lines at the box office, that seems unlikely. There's something about the writer's view of life that appeals to modern audiences, and, if Emma proves to be a financial success, it's almost a certainty that we'll be seeing a new, feature adaptation of either Northanger Abbey or Mansfield Park in the near future.

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