blame電影英文版
Ⅰ 誰能告訴我blame的BGM啊
B站搜索BLAME!原聲 主人公BGM P6 霧亥（登場） P15 旅立（結尾），希望可以幫到您。
Ⅱ 找一部日本動畫電影，關於人類躲避機器人。英文名字
寄生獸
8.6分加入收藏
主演：染谷將太深津繪里橋本愛東出昌大
導演：山崎貴
類型：劇情驚悚懸疑冒險
時長：125分鍾
年代：2016
地區：日本
簡介
Ⅲ 鋼鐵俠 蜘蛛俠 瘋狂原始人 辛德勒的名單 勇敢的心 電影 英文經典對白 各十句
鋼鐵俠
想要不被欺負，棍子得比別人粗
Peace means having a bigger stick than the other guy.
托尼·斯塔克：他們說，這個世界上最好的武器，是不必開火的。我恭敬地表示不同意。我認為最好的武器只需要發射一次。我父親是這么做的（托尼的父親參與了原子彈製造），美國也是這么做的（向日本投放原子彈），到目前為止，這個道理仍然還算正確。
Tony Stark: They say the best weapon is one you never have to fire. I respectfully disagree. I prefer the weapon you only need to fire once. That's how dad did it, that's how America does it, and it's worked out pretty well so far.
我應該已經死了...肯定是為了某個理由而存活了下來…現在我終於知道了……我應該做些什麼……
I should be dead already... It must be for a reason... I just finally know... what I have to do...
我希望我能保護好我所不能失去的東西。
I hope I can protect the one thing i can't live without
我會給你一個選擇,你是想要苟且偷生,還是死得其所？
I'm gonna offer the choice.Do you want an empty life.or a meaning ful death?
今天就是你餘生的第一天
Today is the first day...of what's left of you life
滿大人：女士們，孩子們，懦夫們。很多人認為我是恐怖分子，但我自認為是一名導師。給你們上的第一節課內容是，英雄，從不存在。
MANDARIN：ladies，children，sheep.Some people call me a terrorist.I co nsider myself a teacher.Lesson number1、heroes，there is no such thing。
情況不一樣了，我必須要保護我唯一離不了的人。那就是你。
Things are different now.I have to protect the one thing that I can't live without.That's you.
我是托尼史塔克，我製造了這些東西，我有個超級好的女朋友。我還偶爾拯救一下世界。但是為什麼我徹夜難眠。
I'm Tony Stark,I built neat stuff,I got a great girl,And occasinally,saved the world.So I Can't tight sleep.
事實是... ...我就是鋼鐵俠
The fact is ...... I'm Ironman.
(ps.因為不清楚你說的哪一部於是從第一部到第三部都有寫)
蜘蛛俠
能力越大，責任越大
With great power there must also come great responsiblity.
我們每一個人都面臨選擇,我們是什麼樣的人,取決於你選擇做什麼樣的人。
It's the choices we make that makes us who we are, and we always have a choice to make things right.
當我看著你，看著你看著我，我變得堅強，也更軟弱，覺得興奮，卻害怕。
Because you feel stronger and weaker at the same time. You feel excited and at the same time, terrified.
無論什麼離開，無論什麼還在身旁，我們總是要自己做選擇。我的朋友harry告訴我：他選擇做最棒的自己，這讓我們選擇做自己，而我們總是能選擇怎樣做才是對的。
whatever comes away,whatever better way have ranging asides, we always have a choice.My friend harry told me that: He choice to be the best himself.It's the choices make us we are and we can always choice to do what's right.
（ps.依舊是把蜘蛛俠三部曲和超凡系列的寫下來了pps.以前沒發現蜘蛛俠的怎麼這么少）
瘋狂原始人
不要躲避，不要害怕黑暗，向著太陽，你就能找到明天!
Don't hide, don't be afraid of the dark，follow the lights，then you can find tomorrow!
我們現在這不叫活著，這只是沒有死去
Now we don't call it alive, it's just not to die
我們從沒機會探索外面的世界，是因為我爸爸的那條規則：新事物是不好的，永遠要小心!
We never had the chance to explore the outside world because of my dad's one rule:New is alwaysbad. Never not be afraid!
我還有很多話要說。我想跟你解釋很多事情，可是總是沒時間
I still have a lot to tell you. I want to explain many things to you, but we always don't have time.
不再有黑暗，不再有躲藏，不再有小孩子。這些的中心是什麼？跟著太陽走。我改變不了什麼，也沒什麼主意。但是我有我的力量，你們現在需要這個。
There is no more darkness, no more hiding, no more children. What is the center of these? Follow the sun. I can't change anything, and i have no idea. But i have my power, and you now need it.
我想這應該叫做擁抱。
I think this is called a hug.
這感覺真好，它應該叫什麼名字
this feels so wonderful/good. What must it be called?
我們的世界依舊充滿了危險與困難
Our world is full of danger and difficulties
在黑暗與恐懼中一成不變地生活著
Live permanently stuck in darkness and fears
這是大腦，我想的很多點子都來自這里。坦克：老爸!我沒有大腦!
This is called a brain. I think that's where ideas go. Thunk: Dad, I don't have a brain.
辛德勒名單
奧斯卡·辛德勒：我可以得到一個更多的人…可是我沒有！可是我…我沒有！
Oskar Schindler: I could have gotten one more person… and I didn't! And I… I didn't!
伊薩克·斯特恩：世世代代都會記得你的所作所為。
Itzhak Stern: There will be generations because of what you did.
伊薩克·斯特恩：奧斯卡，因為你已經有一萬一千人活了下來。看看他們。
Itzhak Stern: Oskar, there are eleven hundred people who are alive because of you. Look at them.
奧斯卡·辛德勒：我可以救出更多人的。我本可以救出更多。我不知道。如果我試試。我可以救出更多人。
Oskar Schindler: I could have got more out. I could have got more. I don't know. If I'd just… I could have got more.
奧斯卡·辛德勒：看著，你所需要做的事情就是告訴我，它對你來說，值多少錢。你看每一個人值多少？
Oskar Schindler: Look, All you have to do is tell me what it's worth to you. What's a person worth to you?
阿蒙·高斯：今天就是歷史。今天將會被永遠記住。很多年以後年輕人將會對今天充滿好奇。今天就是歷史並且你們就是其中的一部分。六百年前，當他們到處散播對黑死亡的譴責，所謂的大卡西米（Casimir the Great），告訴猶太人他們應該到克拉科夫去。他們來了。他們帶著財產來到這座城市。他們定居下來。他們掌握權利。他們在商業、科學、教育和藝術上興盛起來。沒有他們帶來的東西就沒有他們的繁榮。六個世紀以來，這兒是猶太人的克拉科夫。到今晚為止，這六百年將會是謠言。他們從來沒有發生過。今天就是歷史。
Amon Goeth: Today is history. Today will be remembered. Years from now the young will ask with wonder about this day. Today is history and you are part of it. Six hundred years ago when elsewhere they were footing the blame for the Black Death, Casimir the Great - so called - told the Jews they could come to Krakow. They came. They trundled their belongings into the city. They settled. They took hold. They prospered in business, science, ecation, the arts. With nothing they came and with nothing they flourished. For six centuries there has been a Jewish Krakow. By this evening those six centuries will be a rumor. They never happened. Today is history.
阿蒙·高斯：真相是，海倫，總是正確的答案。
Amon Goeth: The truth, Helen, is always the right answer.
阿蒙·高斯：他們在你身上投射了一道咒符，你知道嗎，猶太人。當你和他們很親近地工作時，就像我，你這么想。他們有這樣的能量。就像是病毒。有些我的人就被這種病毒感染了。他們應該被同情，而不是懲罰。他們應該接受治療因為這樣才能像斑疹傷寒症一樣真實。我一直是這么認為的。這和金錢有關系嗎？嗯？
Amon Goeth: They cast a spell on you, you know, the Jews. When you work closely with them, like I do, you see this. They have this power. It's like a virus. Some of my men are infected with this virus. They should be pitied, not punished. They should receive treatment because this is as real as typhus. I see it all the time. It's a matter of money? Hmm?
伊薩克·斯特恩：你抽的每一支煙，我就抽了一半。
Itzhak Stern: For every one you smoke, I smoke half.
伊薩克·斯特恩：你已經做得很多了。
Itzhak Stern: You did so much.
勇敢的心
作戰，你也許會死；逃走，你會活下來...至少暫時是這樣，然而多年以後，你會終老而死。你們今天願意用這些來交換一個機會嗎？就是今天，回到這里告訴我們的敵人，他們也許會奪去我們的生命，但他們永遠奪不走我們的--自由！！！！ -- 威廉·華萊士
Aye, fight and you may die, run, and you『ll live... at least a while. And dying in your beds, many years from now, would you be willin『 to trade all of that from this day to that, for one chance, just one chance, to come back here and tell our enemies that they may take away our lives, but they『ll never take our freeeedoooomm. -- William Wallace
告訴你的國王，威廉·華萊士不會屈服於統治，在我活著時，所有蘇格蘭人都是！
Wallace: You tell your king, that William Wallace will not be ruled. Nor will any Scot while I'm alive.
每個人都會死,但不是每個人都真正活過.
Many man dies,not every man really lives
斯蒂芬：上帝說這必將是一場漂亮的勝仗。（我們有著）（或者他們有著）最精良的戰士。
Stephen: The Almighty says this must be a fashionable fight. It's drawn the finest people.
自由萬歲……
William Wallace : FREEEEE-DOMMMMMM.(FREEDOM)
回去告訴整個英格蘭，蘇格蘭兒女不再是他們的臣民，告訴他們蘇格蘭是自由的。 -- 威廉·華萊士
Go back to England and tell them there that Scotland『s daughters and sons are yours no more. Tell them Scotland is free. -- William Wallace
威廉·華萊士：我愛你。永遠都是。我要娶你。
William Wallace : I love you. Always have. I want to marry you.
我們最終都會死，問題在於怎麼樣死和為什麼而死。 -- 威廉·華萊士
"We all end up dead, the question is how and why." -- William Wallace
心靈是自由的，鼓起勇氣隨心飛翔！ -- 馬爾科姆·華萊士
"Your heart is free. Have the courage to follow it." -- Malcolm Wallace
如果沒有自由，一切都是空想。 -- 威廉·華萊士
"It『s all for nothing if you don『t have freedom." -- William Wallace
以上全部來自網路，翻譯可能多多少少有點問題吧。
蜘蛛俠的應該還有很多隻是找雙語的太麻煩了，感覺沒分有不是很想找。
如果覺得有些話並不經典那請你去看一遍電影吧，每個人的感覺不一樣喜歡的地方不一樣，如果真的那麼想知道經典台詞，就算知道了是什麼對白不知道它的含義哪有什麼意義呢？
還有疑問？
Ⅳ 我需要這些電影的英文簡介!
1 a space odyssey
Director:Stanley Kubrick
Writers:Stanley Kubrick (screenplay) &
Arthur C. Clarke (screenplay)
more
Release Date:6 April 1968 (USA) more
Keir Dullea ... Dr. Dave Bowman
Gary Lockwood ... Dr. Frank Poole
William Sylvester ... Dr. Heywood R. Floyd
Daniel Richter ... Moon-Watcher
Leonard Rossiter ... Dr. Andrei Smyslov
Margaret Tyzack ... Elena
Robert Beatty ... Dr. Ralph Halvorsen
Sean Sullivan ... Dr. Bill Michaels
Douglas Rain ... HAL 9000 (voice)
Frank Miller ... Mission controller (voice)
Bill Weston ... Astronaut
Ed Bishop ... Aries-1B Lunar shuttle captain (as Edward Bishop)
Glenn Beck ... Astronaut
Alan Gifford ... Poole's father
Ann Gillis ... Poole's mother
英文評論
Instead of writing a paragraph, I'll give four good reasons why 2001 is the greatest cinema experience of all time: 1) It is a visual Odyssey that could only be told on the big screen. The special effects that won Kubrick his only Oscar are the most stunning effects before that age of Jurassic Park and T2. They allow Kubrick to give an accurate (or at least are the most accurate) depiction of space travel to date. The silence that fills the space scenes not only serves its purpose as accurate science, but also adds to the mood of the film (to be discussed in a later point with HAL). The fact that Kubrick shot the moon scenes before the Apollo landing is a gutsy yet fulfilling move. Many have said that upon its original release, it was a favorite "trip" movie. I can think of no other movie that has such amazing visuals for its time and even of all time (sorry Phantom Menace fans!) 2) Kubrick's directing style is terrific. As in all his films, Kubrick likes to use his camera as means to delve into the psychology of his characters and plots. His camera is not as mobile as other greats, such as Scorsese, but instead sits and watches the narrative unfold. Faces are the key element of a Kubrick film. Like classic movies, such as M and Touch of Evil, Kubrick focuses on the characters' faces to give the audience a psychological view-point. Even he uses extreme close-ups of HAL's glowing red "eye" to show the coldness and determination of the computerizd villain. I could go on, but in summation Kubrick is at the hieght of his style. 3) HAL 9000 is one of the most villainous characters in film history. I whole-heartedly agree with the late Gene Siskle's opinion of HAL 9000. Most of this film takes place in space. Through the use of silence and the darkness of space itself, a mood of isolation is created. Dave and his crewmen are isolated between earth and jupiter, with nowhere to escape. Combine this mood with the cold, calculated actions of HAL 9000 and you have the most fearful villain imaginable. I still, although having see this film several times, feel my chest tighten in a particular scene. 4) The controversial ending of 2001 always turns people away from this film. Instead of trying to give my opinion of the what it means and what my idea of 2001's meaning in general is, I'd like to discuss the fact that the ending serves to leave the movie open-ended. Kubrick has stated that he inteded to make 2001 open for discussion. He left its meaning in the hands of the viewer. By respecting the audience's intelligence, Kubrick allowed his movie to be the beginning, not the end, of a meaningful discussion on man's past, present, and future. The beauty of 2001 is that the ending need not mean anything deep, it can just be a purely plot driven explanation and the entire movie can be viewed as an entertaining journey through space. No other movie, save the great Citizen Kane, leaves itself open to discussion like 2001. It is truly meant to be a surreal journey that involves not only the eye but the mind. Instead of waiting in long lines for the Phantom Menace, rent a widescreen edition of 2001 and enjoy the greatest cinematic experience.
2 a clockwork orange
Director:Stanley Kubrick
Writers:Stanley Kubrick (screenplay)
Anthony Burgess (novel)
Release Date:2 February 1972 (USA) more
Genre:Crime | Drama | Thriller more
Malcolm McDowell ... Alex
Patrick Magee ... Mr. Alexander
Michael Bates ... Chief Guard
Warren Clarke ... Dim
John Clive ... Stage Actor
Adrienne Corri ... Mrs. Alexander
Carl Duering ... Dr. Brodsky
Paul Farrell ... Tramp
Clive Francis ... Lodger
Michael Gover ... Prison Governor
Miriam Karlin ... Catlady
James Marcus ... Georgie
Aubrey Morris ... Deltoid
Godfrey Quigley ... Prison Chaplain
英文評論
Stanely Kubrick's "A Clockwork Orange" is one of the first movies that proved that cinema can be the most enlightening and amazing art form around. Movies have always been a true love for me, but it wasn't until this film challenged me that I fell deeply in love. The first viewing left me speechless, unable to describe how weird and terrible I felt. I thought it was the film that left me in this mood, so of course that was the easy target to blame. It was just a bad movie, overrated and stupid and a waste of time. But upon further thought, I realised the film did exactly what it was supposed to. It showed how the world can be a weird and horrible place, and how this young man who goes around torturing people and being a wicked person ultimately doesn't have to pay for what he does. And it's funny too. So this film brilliantly satirises this world, showcasing pure evil and people who ordinarily do not perform such evil are forced to laugh and observe what we all hate to admit is the truth. It's sick, but at the same time brilliant. And when one gets down to the core, you can't really explain it. It just is what it is. It's real. No one really sees it very often, but it is out there and everyone knows. And no one does anything about it. In essence, "A Clockwork Orange" is the ultimate satire, and one of the ultimate film experiences. It's art, it's life, and in a funky way, it's entertaining.
3 annie hall
Director:Woody Allen
Writers:Woody Allen (written by) and
Marshall Brickman (written by)
Release Date:20 April 1977 (USA) more
Genre:Comedy | Romance more
Woody Allen ... Alvy Singer
Diane Keaton ... Annie Hall
Tony Roberts ... Rob
Carol Kane ... Allison
Paul Simon ... Tony Lacey
Shelley Duvall ... Pam
Janet Margolin ... Robin
Colleen Dewhurst ... Mrs. Hall
Christopher Walken ... Duane Hall (as Christopher Wlaken)
Donald Symington ... Mr. Hall
Helen Ludlam ... Grammy Hall
Mordecai Lawner ... Mr. Singer
評論
Woody Allen's masterpiece will always be "Annie Hall." What is most remarkable today about this film is the way Allen presents it. It's a movie about a relationship. But rather than taking a linear approach, Allen plays with time. We see the middle, the begining, and the end. And not always in that order. Allen also breaks the fourth wall a lot and has many dream sequences and asides which add to the complexity of the characters. This is a highly autobiographical film and Allen pulls no punches. This movie is not about romance in the way that "Breakfast at Tiffany's" is. Rather, "Annie Hall" is a deconstruction of a romance. At times it is funny and heartbreaking and always classic. "Love fades," indeed.
4 bonnie and clyde
Arthur Penn
Writers:David Newman (written by) &
Robert Benton (written by)
more
Release Date:13 August 1967 (USA) more
Genre:Action | Biography | Crime | Drama | Romance more
Warren Beatty ... Clyde Barrow
Faye Dunaway ... Bonnie Parker
Michael J. Pollard ... C.W. Moss
Gene Hackman ... Buck Barrow
Estelle Parsons ... Blanche
Denver Pyle ... Frank Hamer
Dub Taylor ... Ivan Moss
Evans Evans ... Velma Davis
Gene Wilder ... Eugene Grizzard
評論
First of all, let me say that I'm appalled by the real life Bonnie and Clyde. They were two psychopathic thrill killers from Dallas who had a special hatred for law enforcement officers. I must admit that I do feel sorry for the way they were killed, but like the old axiom goes, "If you live by the sword, you die by the sword."
That said, the movie "Bonnie and Clyde" was a groundbreaking film. It was the first time that we the audience were allowed inside the killers minds, and could see what made them tick. This is perhaps the first film that takes a somewhat objective look at crime; we the audience don't have "FBI Seal of Approval" morality shoved down our throats, but we still can tell by the actions of the characters that they are evil, whether they know it or not.
The story is of two Texas young alts who, bored with their lives and the prospects of going nowhere in the world, decide to live out their dreams of stardom by going on a crime spree. They fancy themselves a sort of "Romeo and Juliet" couple, and think of their robberies as harmless fun. They start out small by knocking over grocery stores and gas stations, but soon graate to banks when they need more money to accommodate their lifestyle. Soon they have a simple minded gas clerk named C.W. and Clyde's brother and wife in the gang, and the o goes down into history.
Then the fun and games are over. With law enforcement officials now looking for Bonnie and Clyde, they become targets of bounty hunters, unethical cops and other greedy persons who wish to make a name for themselves, and they lose a part of their childish innocence as the escalation of their crimes makes them become more and more violent. When death finally comes for Bonnie and Clyde, it comes with a vengeance.
Warren Beatty and Faye Dunaway have never been better. Beatty, who plays Clyde Barrow as an impotent, ne'er do well country boy who seems to be sowing his wild oats, is in top form. He makes Clyde likable, with a goofy smile perpetually pasted on his face, even when sticking up a bank with two guns in his hands. Dunaway is the ultimate femme fatale as Bonnie Parker, a sweet natured Southern belle who likes the feel of a .38 in her hands as she politely asks for all the money. It's absurd, it's unrealistic, but hey, it's Hollywood. And the film works.
But most importantly, Bonnie and Clyde are in love. It's a kind of love that only few films afterward have been able to equal. There is a genuine feeling of giddy romance between the two no matter what the scene, be it a bank robbery or family get-together away from the reaches of society.
Arthur Penn was obviously a man on a mission when he directed this film. You could sense with every frame that he knew of the importance of this movie; a cinematic masterpiece that dares to make its audience evoke pathos for what would have been banned just a few years earlier.
The finale is still to this day a triumph of audience manipulation. The two bandits, finally captured and unable to escape, are dealt with in a fashion that will haunt you days after viewing. It's sad, it's disgusting, but it brings closure to the lives of two indivials whose works and existence could not be tolerated by the powers that be.
The movie "Bonnie and Clyde" inspired a generation of film makers to look at cinema in a different light. Actions movies were allowed to be funny from this point; funny movies could get away with violence. On the negative side, however, the film changed the morals of Hollywood by allowing murder to be dealt with in such a nonchalant fashion.
Sure, Claude is obviously shaken up after his first kill, as are Bonnie and C.W., but from that point on violence against law officials is no longer a problem. The police in this film are rather like the way gangsters used to be portrayed; a collection of stupid, soulless indivials who only want to ruin Bonnie and Clyde's fun.
In the end, this in an excellent film about Depression era gangsters. Most ironically, however, is that it seems dedicated to the two real life robbers who don't deserve such an honor of having a film legacy created in their names.
10 stars. Innovative, fresh, and hey, it helped pave the way for "Dillinger", my favorite movie in the robber-gangster genre
5 brief encounger
Director:David Lean
Writers:more
Release Date:24 August 1946 (USA) more
Genre:Romance | Drama more
Celia Johnson ... Laura Jesson
Trevor Howard ... Dr. Alec Harvey
Stanley Holloway ... Albert Godby
Joyce Carey ... Myrtle Bagot
Cyril Raymond ... Fred Jesson
Everley Gregg ... Dolly Messiter
Marjorie Mars ... Mary Norton
Margaret Barton ... Beryl Walters, Tea Room
評論
There's not a lot to say. Like many classics this film is simply constructed with all the elements in balance so that none stands out. Everything in it contributes something essential; the lighting, the unromantic railway station sets, the minor characters and of course the music, the ultra-romantic Rachmaninov Piano Concerto no 2. The emotional rollercoaster of the illicit affair has seldom been better portrayed. Perhaps it is a little understated for transatlantic tastes but no-one viewing this movie would not appreciate that the English can be as passionate as the rest of us.
Celia Johnson as Laura and Trevor Howard as Alec are perfect together. It being 1945, they do not get to bed – that would have ruined the audience's sympathy for them in those rather more censorious times. It's all in their minds but their faces give the game away – to each other and to the bystanders. Nothing happens to drag anyone near the awful divorce courts, but you are left wondering whether Celia will ever feel quite the same about her ll, comfortable, patronising and boring husband. As for Alec, he professes he will love her forever but then, he's a man.
Noel Coward proced this film from a short play of his from 1935 (the war and post-war shortages are absent), and his lcet tones may be recognised in the railway station announcements. David Lean directed, and it is a remarkable collaboration. The action is opened out a little – a row on the lake, a drive in the country - but the scenes from the play set entirely in the railway refreshment rooms still remain the centre of the story. The parallel relationship between Albert the station guard (Stanley Holloway), and Myrtle the refreshment room attendant (Joyce Carey), is an interesting counterpoint to the angst-ridden middle class would-be alterers. Surely Noel old boy you weren't suggesting that the working class handles this sort of thing better? We see things largely from Laura's point of view and perhaps Alec didn't feel quite so guilty, but their consciences are going to make them pay. A gem of a movie.
6 chariotes of fire
Hugh Hudson
Writer:Colin Welland (original screenplay)
Release Date:9 October 1981 (USA) more
Genre:Drama | History | Sport more
Nicholas Farrell ... Aubrey Montague
Nigel Havers ... Lord Andrew Lindsay
Ian Charleson ... Eric Liddell
Ben Cross ... Harold Abrahams
Daniel Gerroll ... Henry Stallard
Ian Holm ... Sam Mussabini
John Gielgud ... Master of Trinity (as Sir John Gielgud)
Lindsay Anderson ... Master of Caius
Nigel Davenport ... Lord Birkenhead
Cheryl Campbell ... Jennie Liddell
Alice Krige ... Sybil Gordon
Dennis Christopher ... Charles Paddock
評論
I watched this again last night. I had forgotten just how beautifully done it was - both a character study of two very different men and a gripping plot of their attempts to succeed - partly through athletics. the writer and director so well convey both Cambridge and the Edinburgh Presbyterian missionary disciples, in the early 1920s so very well.
The acting is superb - I had never seen a character presented like Eric Liddell in movies - how fine Ian Charleson was in this role, the softness of his voice, his ease and joy in running competitively (especially in contrast with the tense tortured Harold Abrahams). I also loved the more supporting roles - I've read a biography of F.E. Smith and Nigel Davenport is exactly how I would imagine him. The actor who played the Prince of Wales also seemed exactly right with his effortless charm, looks, and lack of imagination. Ian Holm, John Gielgud, Lindsay Anderson - all wonderful.
The actors weren't chosen for glamour either - Liddell and Abrahams are not Leni Riefenstahl images of athletic ideals, Liddell's sister is no beauty - and Abrahams' girlfriend is pretty but not stunning. It made them seem more real. (In nice contrast were the near-pretty boy looks of Nigel Havers as Lord Lindsay - it so suited his character).
he races are riveting - partly e to the music and sound effects.
So many small things are done so well - e.g., when Lord Lindsay has the confidence of his class to barge into a room containing the Prince of Wales, and three other lords (including Birkenhead and the head of the British Olympic Committee) and greets them by name - no need for introction there (as there was for Liddell). It's small but seems quite real.
As an American, it was interesting and funny to see our Olympic team shown as the numerous, ominous, invulnerable "other"! (something like watching a Rocky movie with Rocky as the proct of a Russian or East German success machine!). In fact, the one scene that seemed a bit off was the scene of the American track athletes warming up for the Games - all heavy music, machine like athletes, ferocious coach yelling with a megaphone into people's ears. It pounded too hard on the "these are the scary almighty inhuman opponents" theme in contrast to the cheerful British boys running along the beach.
Something I had forgotten about the movie was how stubborn BOTH protagonists are - Liddell fully as much as Abrahams. Liddell is not overly deferential or bashful when dealing with the Prince of Wales - but instead straightforward and very firm.
I truly can't understand anyone not liking this movie - it is very exciting even on the basic level of "will they win?" and so much more. (For example, Ian Holm's character's reaction to success after 30 years is very moving). Those who write to say that "Reds" deserved the Oscar more - are simply wrong. (Reds was so simplistic that it felt like watching the movie "The Hardy Boys Go to the Russian Revolution"). Those who say they cannot differentiate among the boys or between the Scottish and English accents - well, it sounds like some political statement to me.
Do watch it - it's very fine, very moving, very exciting.
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