Roman Holiday（罗马假日）1953
There has been a long hiatus between that day when history wore a rose, when princesses and knights-errant in mufti could get into a lovely scrape or two and when the movies could do something about it. That day apparently has passed. For "Roman Holiday," which arrived at the Music Hall yesterday, is a royal lark in the modern idiom about a regal but lonely young thing who has her moment of happiness with an adventurous newspaper man. It is a contrived fable but a bittersweet legend with laughs that leaves the spirits soaring. Call "Roman Holiday" a credit to William Wyler's versatility. The producer-director, who has been expending his not inconsiderable talents on worthy but serious themes, is herein trying on the mantle of the late Ernst Lubitsch and making it fit fairly well. He certainly is dealing with the formal manners of ultra-high society and, if the unpolished common man is very much in evidence, too, it does not matter because his cast and the visually spectacular backgrounds of Rome, in which this romantic excursion was filmed, also are necessary attributes to this engaging story. Tender, Amusing Yarn A viewer with a long memory might recall some plot similarities between "Roman Holiday" and "It Happened One Night." This is not important. Mr. Wyler and his associates have fashioned a natural, tender and amusing yarn about the heiress to the throne of a mythical kingdom who is sick unto death of an unending schedule of speeches, greetings and interviews attendant on her goodwill tour and who suddenly decides to escape from these bonds of propriety. Her accidental meeting with Joe Bradley, the American journalist, and the night she spends in his apartment are cheerful, untarnished and perfectly believable happenstances in which romance understandably begins to bloom. The director and his scenarists, Ian McLellan Hunter and John Dighton, have sensibly used the sights and sounds of Rome to dovetail with the facts in their story. Since the newspaper man is anxious to get the exclusive rights to the princess' adventures in the Eternal City, and since he is also anxious to keep her in the dark as to his identity, a Cook's Tour of the Eternal City is both appropriate and visually edifying. This is not a perfunctory trip. Mr. Wyler and his camera crew have distilled chuckles as well as a sightseeing junket in such stops as the Princess getting a new coiffure; a perfectly wild motorscooter ride through Roman streets, alleys and market places winding up with a session in a police station, and an uproarious dance on one of the barges on the Tiber that terminates with the princess and her swain battling and escaping from the sleuths sent to track her down. The cameras also have captured the raucous sounds and the varied sights of a bustling, workaday Rome; of sidewalk cafes; of the Pantheon; the Forum; and of such various landmarks as the Castel Sant' Angelo and the rococo, mirrored grandeur of the Colonna, Brancaccio and Barberini Palazzi. Although she is not precisely a newcomer to films Audrey Hepburn, the British actress who is being starred for the first time as Princess Anne, is a slender, elfin and wistful beauty, alternately regal and childlike in her profound appreciation of newly-found, simple pleasures and love. Although she bravely smiles her acknowledgment of the end of that affair, she remains a pitifully lonely figure facing a stuffy future. Gregory Peck makes a stalwart and manly escort and lover, whose eyes belie his
restrained exterior. And it is altogether fitting that he eschews the chance at that exclusive story considering the circumstances. Eddie Albert is excellent as the bewildered, bewhiskered and breezy photographer who surreptitiously snaps the unwitting princess on her tour. Hartley Power, as the bureau chief of Mr. Peck's news agency; Paolo Carlini, as an amorous barber; Claudio Ermelli, as a janitor; Alberto Rizzo, as a timorous cabbie; Harcourt Williams, Tullio Carminati and Margaret Rawlings, as Miss Hepburn's official aides and an echelon of actual Rome correspondents, help give the proceedings authenticity and flavor. It is a short holiday in which they are involved but an entirely pleasureable one. Featured on the Music Hall stage are Anne Harvey, Patricia Rayney, George Sawtelle, Clifford Guest, The Rockettes and the Corps de Ballet.
No.2 Roman Holiday（罗马假日）1953 Cheerfully charming romantic comedy in which reporter Gregory Peck falls for a slumming princess, Audrey Hepburn. Bagged four Oscars, including one for Hepburn in her first major role The picture that effectively introduced the world to Audrey Hepburn, this is feelgood fare of the first order driven by good old-fashioned star power. Hepburn is the poised but pampered princess on holiday in Rome. Weary of her official duties, she bunks off and ends up in the arms of fast-talking newspaperman Joe Bradley (Peck). Hepburn's performance still looks brilliantly fresh and she gets surprising comic mileage out of her girlish innocent abroad act. As the affair gathers momentum, an initially prickly Peck puts professional considerations aside and allows himself to be won over by her relentlessly cute allure. Their romance is played out against the sights and sounds of a beautifully shot Rome, and in one of the many memorable moments the couple visit the Mouth of Truth, where an ad-libbing Peck pretends to have his hand bitten off. The focus rarely moves away from the stars, but Eddie Albert proves a great comic foil as a highly strung bohemian photographer. Nominated for 10 Oscars, not even a teary conclusion can lessen the appeal of this unfailingly lovely fairy tale.
第二篇：电影《毕业生》影评 英文
They make us understand why Ben just has to do what he does, also telling us that Ben is not the strongest person in the world. Ross is quite nice too,
although her character is pretty forgettable. If Ben would have chosen for Mrs. Robinson instead of the daughter it would probably have been more believable.
The music from Simon & Garfunkel is great, although it does not add
something to the film really. Because three well known songs ('Mrs. Robinson', 'The Sound of Silence' and 'Scarborough Fair') play over and over again some people will get tired of it after a while. I liked the songs enough to not have that problem.
Overall I think this is a great film, with only the ending as really implausible, although I must admit I liked it this way. Even if it has flaws, even if it is a little dated at times, it feels fresh and is more entertaining than most films today.
2. The Graduate, 29 January 2006
Author: Delonga22 from United States
Mike Nichol's The Graduate was a movie that everyone could relate to. The feeling of being thrown out into the world and life just passing you by is overwhelming which is how we find out main character Benjamin feeling. When we first meet him he stares straight ahead with a look that could mean so many things and in fact I felt that through out the movie I could never really tell how he felt except by the change if music and its tempo. I found Hoffman's character hard to grasp except that he is just going through the motions in his monkey suit to make his parents happy.
When Benjamin is on the plane there is a head shot of him staring straight ahead and his head seems to be enveloped by the brilliantly white head rest. I found that shot to be amusing because it showed the innocence that he possessed even after completing four years of college. Benjamin was the prodigal son who did everything to make his parents happy, even when he voiced complaints to his father about the party or the diving suit; he was never heard, throughout the movie his character is ignored until he meets Elaine.
One of the many great scenes that drive the point across that he is lost in his own world where he can only hear himself is when he comes out for his 21st birthday party and his father will not listen to his objections. The audience is taken into the back yard through Benjamin's perspective (his own world)
looking through the goggles. All we can hear is his breath and all he can hear
is himself which is what he is used to. His breath blocks every body out and he is pushed repeatedly back into the pool by his father. Benjamin decides to stay submerged and avoid reality. This theme of submersion is present in the beginning of the movie when he is looking through the fish tank and watches the fish swim around, they seem so free yet they can only swim so far before they are back where they started.
Benjamin feels alone in the beginning until Mrs. Robinson begins to show an interest in him and pretty soon that white 'halo' from the plane turns to black. As far as the viewer can tell there is no emotional connection between Ben and Mrs. Robinson, he still walks around aimlessly and his manner turns from that of a paranoid youth, like many of us, to an almost cocky young man. An interesting aspect between the relationship of Ben and Mrs. Robinson is the way the gender roles are switched. Ben is interested in involving conversation to their meetings and feels like he is being used while Mrs. Robison just wants to be purely physical. Ben has a more feminine personality then Mrs. Robison because she has so many secrets kept inside.
The romance between Ben and Elaine is somewhat rushed because one second they are in a adult club where Elaine feels insulted and wants nothing to do with Ben, and then the next thing we know they are laughing and getting along and going on another date. The next instance Elaine is being married off yet she does not object. When Ben shows up to the wedding it is hard to say whether she is happy because she loves him or if she is happy because he offers and escape for her. All she can hear is Ben screaming her name, everyone else is blocked out.
They escape from the wedding and the end scene I found leaving me hanging. I would have expected that they would have kissed and lived happily ever after but instead their smiles fade away as they realize they have no idea what will happen next and they are back to the beginning again. The film leaves you wondering what will happen? Will the characters end up happy together? Or are they looking to each other as an escape from the domination of their parents?