電影紫色英文簡介

㈠ 求電影 紫色 的英文影評

In the prologue to Steven Spielberg's The Color Purple, black sisters Celie and Nettie play patty-cake in a field of blue-pink flowers. Celie is pregnant with her second illegitimate child, and when she has the baby, her father cruelly whisks it away to a new home, as he did her firstborn. Later, her father disposes of Celie, too, giving her to Albert (Danny Glover), a vicious stranger on horseback in need of a wife. Concerned with more than just lonely Celie (Whoopi Goldberg as an alt) summoning the confidence to defy Albert (less through her own sexual awakening, as in The Color Purple's source material, than through a cultivated sisterhood with the women in her orbit), the picture examines a generation of emancipated African-American men who, poisoned by the slave mentality, treat their women as Cinderellas in a misguided salvo to independence.

It presents a quagmire to say that Spielberg has no business directing a film about The Black Experience, because in so doing, you are arguing that The Black Experience is singular and sub-rosa, which strikes me as racist in ways that even hiring an Aryan screenwriter (Menno Meyjes) to adapt Alice Walker's Pulitzer Prize-winning novel The Color Purple does not approach. On the other hand, Spielberg can be so all-inclusive as to flatter a white audience for finding The Color Purple as catholic as it is: Caucasians are rarely seen in the film, and with racism never part of the text or subtext outside a sequence that explicitly addresses the issue, this starts to feel like denial.

What Spielberg brought to the film, first and foremost, is visual sweep that feels astoundingly epic considering The Color Purple's TV-friendly aspect ratio of 1.85:1. While Allen Daviau's cinematography borders on precious, with many shots, as cynics were quick to point out, evoking a Mr. Bluebird-on-my-shoulder day, there was nothing to be gained from taking an opposite approach; the film's picturesque qualities stand against the grim lives led by its characters to suggest something true of the balance of human experience. At first I was going to pair up The Color Purple in a review with Spielberg-idol John Ford's frothy The Quiet Man, which is beautifully and similarly photographed, until I realized that I risked trivializing the former with such a coupling.

The picture doesn't lack for levity, though. In fact, the execution of some of The Color Purple's lighter moments provides the tidiest ammunition against Spielberg. You worry, in scenes like the one in which Albert ineptly prepares a meal, that Spielberg's ecation in black cinema stops at "Tom & Jerry" cartoons: wanting the oven hotter, Albert retrieves a tin can marked "Kerosene" in letters big and comical, and Spielberg cuts to an empty chair that Celie has fled with split-second timing, the subsequent fireball supplying a sound effect akin to Tom or Jerry bolting from the room. The bit is funny, cute, and, complete with low, headless-mammy angles, perhaps too reverent of the rolling-pin era in pre-Sidney Poitier entertainment.

Still, The Color Purple is unquestionably a work of heart and soul dazzlingly performed by Spielberg's tightest ensemble since Jaws. The film's final gestures of redemption on Albert's behalf bring to mind another Ford picture, The Searchers, and if that ultimately makes The Color Purple as much a paean to the cinematic past as to a black experience, at least it lends the film a sense of history you risk losing in translating Walker's archaic first-person prose for Hollywood.

I wish I could muster the same enthusiasm for Kasi Lemmons' hyphenate debut, Eve's Bayou. Her follow-up effort, The Caveman's Valentine, was/is an unsung gem, but as it trades on a fascination with superhero archetypes (starring Samuel L. Jackson, it could be a movie within M. Night Shyamalan's Jackson starrer Unbreakable), it wasn't treated with the critical or popular respect of Eve's Bayou, a coming-of-age film set in the 1960s that concerns the weathered storms of an idyllic childhood.

Sharing her name with the titular bayou, a plot of land in rural Louisiana that, legend has it, was bequeathed to the black community in gratitude of slaves who nursed Jean-Louis Baptiste back to health, pre-teen mischief-maker Eve Batiste (Jurnee Smollett) prefers her smooth-talking dad, Dr. Louis Batiste (Jackson), to the rest of her otherwise distaff household. But one night ring a soirée at the Batistes, Eve catches daddy in a compromising position with a lady not her mother; Louis talks Eve down from a subsequent panic attack (an innovative choice for the child's reaction on Lemmons' part) in a scene rich, like so many in the latter half of Eve's Bayou, with Freudian overtones. Louis addresses his daughter as though she's the wronged wife: his patronizing gestures of solace constitute an apology in doublspeak--he is sorry for being indiscreet rather than for his indiscretion.

Rowell in Dr. Hugo

DR. HUGO *** (out of four)
A dry run of the housecall sequence in Eve's Bayou, Kasi Lemmons' delightful, if prosaic, comedy short Dr. Hugo casts the underemployed Vondie Curtis-Hall as a physician curing conveniently bed-ridden wives of their loneliness. According to Lemmons' commentary with Cotty Chub, Curtis-Hall, and Amy Vincent, this sexy little movie sparked Samuel L. Jackson to claim Curtis-Hall's role for his own in the feature-length reimagining right about the time that Dr. Hugo's patient (Victoria Rowell) dropped 'trou. The 20-minute Dr. Hugo is presented in 1.85:1 non-anamorphic widescreen on the Lions Gate Signature Series edition of Eve's Bayou.-BC

But a movie needs more than psychosexual profundities. Eve's Bayou is cinematically amateurish and unfocused, violating its heroine's point of view (the alt Eve narrates the film, defining it as a reminiscence with her opening line, "The summer I killed my father, I was ten years old") with encounters and flashbacks to which she is not and could not have been privy and cutting to too many gritty black-and-white asides besides, an effect intended to underline exposition that only demonstrates Lemmons' storytelling incertitude. Additionally, the picture ends on an unearned note of haunted ambiguity: instead of showing us, in a fashion that would give rise to polarized assessments organically, a pivotal incident involving Louis and Eve's older sister that informs the final third of Eve's Bayou, we watch it play out in a variety--three, to be precise--of emotional configurations (the Rashomon trope), resulting in contrived pathos. Its depiction of a pre-civil rights black neighbourhood marked by affluence notwithstanding, Eve's Bayou is hardly revolutionary.
One of the earliest titles to be released on video in the letterbox format, The Color Purple has always looked fine at home but never as lovely as it does on Warner's new Two-Disc Special Edition. The 1.85:1 anamorphic widescreen transfer--it's apparently the same one used for a 1997 DVD release of the film--has not only aged well, it should also continue to age well; I defy anyone to date The Color Purple on the basis of the DVD's source print alone. (If we can convince Universal to re-author 1941, there will be no such thing as an unappealing Spielberg DVD.) Remixed in 5.1 Dolby Digital, the film's soundtrack here is pleasing to the ears though inconspicuous--Spielberg saved the fireworks for his next picture, Empire of the Sun.

Laurent Bouzereau (who else?) was responsible for The Color Purple's supplements, and while they are dense with clip filler, in fairness, the four featurettes on the second platter of this set contain remarkable content. In the deceptively christened "Conversations with the Ancestors: The Color Purple From Book to Screen" (27 mins.), author Alice Walker articulates the seeds of her book ("I had two grandparents who, when they were younger, were really horrible people"), and among other topics, she discusses her stab at a screenplay adaptation (retitled Watch for Me in the Sunset by the author, it impressed Spielberg but she ultimately withdrew the script from consideration). Spielberg admirably goes down the list of criticisms against his interpretation of the novel--he's more self-aware than you think, and he gets the last laugh, in a sense, when he points out that The Color Purple grossed a hundred simoleons at the box office even though he committed sins X, Y, and Z.

The next two docs, "A Collaboration of Spirits: Casting and Acting The Color Purple" (29 mins.) and "Cultivating a Classic: The Making of The Color Purple" (22 mins.), were very obviously one program divided in two to keep the SAG dogs at bay. (The Screen Actor's Guild began hitting studios with fees last year for talent appearing in DVD making-of material running longer than thirty minutes to the second.) Oprah Winfrey, whatever off-camera personality she once had clearly absorbed by the artificiality of daytime television, nonetheless contributes great, cherished proction anecdotes. How she wound up with the role of Sofia is indeed the stuff of hymns.

Here (in "Cultivating a Classic" specifically), Spielberg recounts Goldberg's screen test, which doubled as a trial run of his original idea to shoot The Color Purple in black-and-white using cinematographer Gordon Willis; E.T. cameraman Daviau soon became available and devised ingenious lighting schemes for photographing (in colour) a multiplicity of African-American skin tones within a master without recing any of the faces to "eyes and teeth." The lone d featurette is "The Color Purple: The Musical" (7 mins.), another misnomer of sorts. Procer Quincy Jones and co. reflect on the period songs written for the film--The Color Purple ain't comin' to Broadway anytime soon, in other words. Animated galleries of behind-the-scenes stills and cast photos round out Disc Two and the distinguished package itself.

This piece refers to the 119-minute director's cut of Eve's Bayou found on a Signature Series DVD from Lions Gate. (The theatrical version is 110 minutes in length.) The character of "Uncle Tommy" (the closing titles were not updated to credit the man who plays him), a cerebral palsy sufferer residing in Eve's manse, is the most noteworthy restoration to the film; for a complete guide to alterations, either of Lemmons' thorough commentaries is the best reference.

Actors Jackson, Smollett, Good, Lynn Whitfield, Debbi Morgan, and Vondie Curtis-Hall (Lemmons' real-life spouse) join Lemmons for one yak-track, procer Cotty Chub, editor Terilyn A. Shropshire, and director of photography Amy Vincent for another. Although participants in both yak-tracks tend to collapse into fits of group giggles, everything from the film's mirror imagery to performance motivations receives mention. Lemmons' short Dr. Hugo (see above sidebar), a trailer for Eve's Bayou, and an Easter Egg link to a commercial for Monster's Ball complete the disc. The audio-visual presentation of Eve's Bayou itself is average: the 16x9-enhanced 1.85:1 image improves upon that of Trimark's non-anamorphic DVD, issued in the late-'90s, but it isn't on a par with many of Lions Gate's recent stellar transfers. The Dolby Digital 5.1 mix rumbles the room intermittently.-Bill Chambers

朋友,這是我轉載的一篇,告訴你網址,要找英文影評以後就找准這個網站喲.

http://www.rottentomatoes.com/

㈡ 《紫色》，女人之間的治癒：女人不自信，可以看看這部電影！

電影《紫色》由斯皮爾伯格導演，上映於1985年，是一部講述一對黑人姐妹，從分離到團聚的故事，這部影片的鏡頭處理方式，可以作為導演的教科書級別的電影！

這部電影裡面的，幾組女性角色的關系，我覺得很有意思！

首先就是電影的主角，兩個姐妹，西麗和娜蒂，她們兩個是相依為命的好姐妹，特別是對於姐姐西麗來說，妹妹就是她對生活唯一的精神支柱。

她們的母親早逝，繼父強迫西麗給他生了兩個孩子，一出生就賣給了有錢人，她再也沒見過她的孩子！

所以，只有屋前的那一片紫色的花海，是她們姐妹遊玩嬉戲的樂園，也是唯一能忘卻生活的憂傷的凈土，它的顏色那樣明亮，甚至與整部電影灰暗的色彩，顯得有點格格不入，可正式如此，更凸顯出它帶給人的希望的沖擊感！

繼父是一個惡魔，他是不會任由，她們姐妹一直安逸的生活的。不久，一個叫做艾伯特的男人，看上了妹妹娜蒂，想要娶她為妻。可是，繼父不答應，他讓姐姐西麗嫁給那個男人。

也許繼父他玩膩了西麗，西麗沒有妹妹長得好看，他最近又看上了妹妹，想著把姐姐嫁出去，就更好對妹妹下手了！

西麗的嫁過去，生活更加凄慘，她從一個泥潭，又掉入了另一個深淵。

這個男人，她稱之為「先生」，他只是想找一個女傭人和一個發/泄的工具。他前妻留下了一堆孩子，家裡亂成一個垃圾場，西麗每天忙著做家務，照顧這些孩子，就已經累的直不起腰；可是，艾伯特還經常稍不滿意就打西麗……

西麗是一個隱忍的女人，因為她從小就被打怕了，反抗對她而言，只是換來更狠的一頓毒打，這個社會，男人打女人是為了讓她聽話，是天經地義的事情。所以，她覺得自己逃不掉，她只能默默忍受！

有一天，妹妹突然來找她，因為繼父終於對她動手，她逃了出來。西麗求艾伯特留下妹妹，艾伯特竟然同意了，當然他也沒安好心！

姐妹倆又有了幾個月單獨的相處時間，她們兩個一起幹活，一起讀書認字，一起玩小時候的拍手游戲，這是她們兩個最喜歡玩的游戲！

就在姐妹倆開心的游戲時，一雙別有用心的眼睛，一直在盯著妹妹看，終於惡魔要露出本來的面目了，艾伯特，在妹妹上學的路上，截住了她，想要圖謀不軌，被妹妹用書打了下面，才得以逃脫這一次的傷害。

可是，這也惹怒了這個男人，他把娜蒂趕出來家門，不允許她們姐妹再相見，姐姐西麗哭著求著也無法留下她，她喊著妹妹，記得寫信！

後來，妹妹確實寫了信，可是姐姐30年都沒有收到，因為艾伯特悄悄藏了起來。

莎格是艾伯特的舊情人，她是一個歌女，身材火辣，長相迷人，是一個有魅力的女人。也是艾伯特的死穴，他對莎格言聽計從，還親自給她做飯。

西麗也很喜歡莎格，因為只有莎格可以發現自己的美，她還專門寫了一首歌送給西麗；鼓勵西麗笑的時候不要捂著嘴巴，跟她說，她的笑容很美！

很多人解讀為，她們兩個是同性戀，但我覺得，莎格只是教西麗怎麼感受愛，她親吻她，讓她感受到真正的愛的感覺，讓她永遠不要失去感受愛的能力！

西麗不想莎格離開，因為她在，艾伯特就不會打她。但莎格是一個喜歡漂泊的人，不可能一直停留。

第一次，莎格離開的時候，西麗很想跟她說，讓她帶自己走，可是最後她只說了：「我會想念你！」

第二次，莎格帶著老公來看他們，艾伯特和西麗都很失望，感覺兩人同時失戀的感覺。

現在的西麗，已經變得更勇敢了，莎格帶著她，發現了妹妹這些年的來信，她開始了讀信的生活，妹妹還活著，她一定要等到妹妹的回來。

這一次，西麗選擇跟莎格離開這個男人，她要好好的生活，等著妹妹回來。

當你勇敢了，好像生活也不再那麼為難你。繼父去世了，她繼承了家裡的房子，她又回到了那片紫色的花海，等著妹妹回來！

妹妹終於回來了，分離了30年，她們又可以在紫色的花海中，玩著小時候的拍手游戲了！

這一次回來的，還有她被賣給別人的女兒和兒子。而且還是艾伯特悄悄幫的忙，也許在這個男人的心中，多少還是對西麗有些感情的吧！

索菲亞是艾伯特兒子哈勃的妻子，她是一個很有主見的女人，所以她老是指揮自己的丈夫做事。

當哈勃向西麗請教，怎麼讓索菲亞更聽話的時候，西麗說：「打她！」

這也是很多人詬病西麗的地方，覺得她怎麼這樣懦弱和可惡。可是，你設身處地站在西麗的境地，你渴望她能說出什麼樣的話呢？她從小就是這樣被調教大的，她不知道還有其他的方式可以活下去！

於是，索菲婭離開了這個家，因為她無法呆在這個打她的男人身邊！

而這不平等的世道，也給索菲亞好好上了一課，因為無法忍受白人市長對自己孩子的歧視，她被判了8年！

8年後，出來的她頭發全白了，一支眼睛瞎了，一條腿瘸了，她的靈魂也沒了，曾經那麼要強的一個人，變成這樣，看著真的讓人好壓抑！

可是，最後幫蘇菲亞找回自我的還是西麗。

因為西麗不再逆來順受，她也會表達自我了！她的變化一點點地喚醒了，蘇菲亞那顆已經枯萎的心，她又回來了，那個霸氣的蘇菲亞又回來了！

她們兩個相愛相殺，又互相治癒的感覺！

我覺得女人不自信的時候，可以看看這部電影，會讓你汲取到很多能量的！