簡愛電影影評英文版200

㈠ 簡愛的英文影評

A
thoroughly
engaging
adaption
of
the
brooding
classic,
this
film
rises
above
the
turgid
tone
often
imposed
on
other
classics
brought
to
the
screen.
Joan
Fontaine
turns
in
a
brilliantly
deceptively
understated
performance,
and
Orson
Welles
restrains
from
the
scenery
chewing
that
marred
some
of
his
own
projects;
there
is
surprising
chemistry
between
them.
At
times,
Welles
is
a
downright
"sexy"
leading
man!
The
script
(credited
to
John
Houseman
and
Aldous
Huxley)
captures
the
right
"tone"
of
Victorian
cruelty
and
repression.
Under
Robert
Stevenson's
direction
Fontaine/Welles
seem
to
capture
the
essence
of
two
abused
outsiders
resisting
their
attraction
for
one
another,
trying
to
adhere
to
convention.
A
strong
supporting
cast.
There
are
brief
though
memorable
appearances
by
Agnes
Moorehead,
Elizabeth
Taylor
and
Peggy
Ann
Garner
as
"young"
Jane.
George
Barnes'
camera
captures
appropriately
stark
images
of
Ross
Dowd
and
Thomas
Little's
sets.
Charlotte
Bronte's
grim
novel
is
well
suited
to
the
excellent
B/W,
cinematography:
a
memorable
scene
early
in
the
film
has
young
Jane
being
punished
by
being
forced
to
stand
on
a
stool
that
is
nearly
in
the
center
of
a
fan
of
shadows
cast
by
the
stair
railing,
It
is
almost
reminiscent
of
expressionist
German
films
of
the
Weimar
years.
The
film
manages
to
entertain
as
well
as
inform.
Purists
may
object
to
the
last
3
lines
of
the
film
which
hint
at
a
slightly
happier
denouement
than
the
book
offered.
In
spite
of
that,
Jane
Eyre
is
still
a
nearly
flawless
film.

㈡ 《簡愛》電影的英語影評

Jane Eyre is a first-person narrative of the formative years of the title character, a small, plain-faced, intelligent, and passionate English orphan girl. The plot follows the form of a Bilngsroman, a novel that tells the story of a child's maturation and focuses on the emotions and experiences that lead to his or her maturity. The novel goes through five distinct stages: (1) Jane's childhood at Gateshead, where she is abused by her aunt and cousins; (2) her ecation at Lowood School, where she acquires friends and role models but also suffers privations; (3) her time as governess at Thornfield Manor, where she falls in love with her Byronic employer, Edward Rochester; (4) her time with the Rivers family at Marsh's End (or Moor House) and at Morton, where her cold clergyman-cousin St. John Rivers proposes to her; and (5) her reunion with and marriage to her beloved Rochester at his house of Ferndean. Partly autobiographical, the novel abounds with social criticism and sinister Gothic elements. Jane Eyre is divided into 38 chapters, and most editions are at least 400 pages long

㈢ 求一篇英語影評，500字左右，不限電影種類

簡愛 Jane Eyre review by Heather
I was hesitant at first,but now I am truly hooked. As I waited patiently for each hour of more Jane, I grew to admire the way the book was handled. Yes, much of Jane's past is missing, but what is there is captivating. Georgie Henley is scarily mature - more than she has a right to be - and her understanding of young Jane's gravity and passion was wonderfully portrayed.

When Ruth Wilson took the scene, I didn't see at first how she was the unearthly Jane I had read. But it became clearer and clearer, and by far she is the most human and understandable Jane yet. Her face speaks volumes as she says nothing. "That face," comments Toby Stephens' Rochester. It is true. Though we see her silent face many times, we have no problem guessing exactly what she is feeling.

At first, I thought Toby was disappointing. I quite liked the sarcasm of William Hurt in the 1996 version, and Mr. Stephens seemed more brash than sarcastic, more flirting than teasing. But it was the chemistry that quite obviously grew between these two characters that has solidified Toby Stephens as Edward Fairfax Rochester for me. For the first time in a movie version, I realized how much the two had become friends first, and then soul mates.

Two other things were handled extraordinarily. The sex and the scary. From dark corridors and floating candles, burning beds, portraits of mad people and blood dripping, Susanna White got her Gothic right. It is almost a ghost story. This suspense keeps the story from being overly lovey-dovey, and shows a real contrast between the white taffeta-covered aristocracy, and the darkly-clad Jane in Rochester's dim study.

As for the X factor, this is not Jane Austen. Women can have conversations with men alone in rooms. Dark-haired, exotic beauties can sece with a look, cheat with a smile and sin the world round. All of it is not afraid to show up in this version. Rochester and Jane's connection, displayed quite innocently and platonic in some versions, blazes with passion in this. The flashbacks in the final hour of series are some of the steamiest and most emotionally charged parts of this proction.

It's heart-warming, passionate, suspenseful, full of beautiful scenery and costuming; all in all, a whole 4 hours of excellent entertainment. Don't miss out.

㈣ 《簡愛》的英文影評

A thoroughly engaging adaption of the brooding classic, this film rises above the turgid tone often imposed on other classics brought to the screen. Joan Fontaine turns in a brilliantly deceptively understated performance, and Orson Welles restrains from the scenery chewing that marred some of his own projects; there is surprising chemistry between them. At times, Welles is a downright "sexy" leading man! The script (credited to John Houseman and Aldous Huxley) captures the right "tone" of Victorian cruelty and repression.

Under Robert Stevenson's direction Fontaine/Welles seem to capture the essence of two abused outsiders resisting their attraction for one another, trying to adhere to convention. A strong supporting cast. There are brief though memorable appearances by Agnes Moorehead, Elizabeth Taylor and Peggy Ann Garner as "young" Jane.

George Barnes' camera captures appropriately stark images of Ross Dowd and Thomas Little's sets. Charlotte Bronte's grim novel is well suited to the excellent B/W, cinematography: a memorable scene early in the film has young Jane being punished by being forced to stand on a stool that is nearly in the center of a fan of shadows cast by the stair railing, It is almost reminiscent of expressionist German films of the Weimar years.

The film manages to entertain as well as inform. Purists may object to the last 3 lines of the film which hint at a slightly happier denouement than the book offered. In spite of that, Jane Eyre is still a nearly flawless film.

㈤ 不少於200詞的簡愛的英文影評 謝謝啦

This is a story about a special woman who has been exposed to a hostile
environment but struggling for her ideal life conreattionously and fearlessly.
It seems to me that many readers 『s English reading experience starts with Jane Eyer.It is not surprising to find some differences because it was filmed and retold in a new way,but the spirit of the novel remains to be an independent person, both physically and mentally.
Jane Eyer was a born orphan,whose parents went off when she was very young,and her aunt,the only relative she had,treated her as badly as she could.At the beginning of Jane』s ecation in Lowwood Orphanage,she didn』t get what she had been expecting.As a reward of revolting the ruthless oppression,Jane got a chance to be a tutor in Thornfield Garden.There she made the acquaintance of lovely Adele and that garden』s owner,Rochester,a man with warm heart while a cold face outside.After Jane and Rochester fell in love with each other and meant to get marry,Jane came to know Rochester had already got a legal life .And,unfortunately,Rochester seemed under the shadow of his wife.Jane wanted to give him a hand,however,she made her mind to leave,because she didn』t want to betray her own priciples.She is Jane Eyer.
The film has finally got a symbolist end.After finding Rochester』s misfortune brought by his original mad wife,Jane chose to stay with him forever.
Life is ceaselessly changing,but our living priciples remain.Firmly persisting for the rights of being independent gives us enough confidence and courage.In the world of the film,we have found te stories of ourselves, which makes us so concerned about the fate of the dramatis personae.
It』s our spirit that makes the life meaningful.