黑鷹墜落電影英文翻譯

『壹』 找一部電影，美國片，好像是描述黑鷹墜落的續集！

《黑鷹墜落》！ （ Black Hawk Down）
本片描述1993年的摩加迪沙戰爭的戰爭情況，片中描述美軍由三角洲特種部隊以及游騎兵特種部隊所組合而成的戰斗隊伍，與索馬利亞千計的武裝民兵纏斗的故事。 1993年這支特種部隊任務是要捉拿當時在索馬里軍閥艾迪德兩位重要手下的任務，
《黑鷹墜落》電影劇照(13張)原本任務預計約半小時，由三角洲部隊先逮捕兩位目標後，再由丹尼·麥奈中校（湯姆·賽斯摩飾演）所指揮的悍馬車隊護送回營地。不料由克里夫頓·威考駕駛的「超級61」黑鷹直升機遭到索馬里民兵RPG-7火箭的攻擊而墜機，使得在目標建築物附近建立防線的游騎兵部隊必須前往墜機地點檢查有無生還者，結果最後演變成15小時的持久戰斗。 游騎兵的小隊在第一架黑鷹直升機墜落後，紛紛趕往墜機地點建立防線，其中包括艾佛斯曼上士所率領的游騎兵第四小隊（Chalk Four），最後只有一名生還者在掩護下被送走。而麥奈中校的悍馬車隊則因為遭到強烈攻擊而先返回營地，但同時卻又有另一架黑鷹直升機遭到攻擊，由麥可·杜蘭特所駕駛的「超級64」也墜機，在其他小隊無法立即支援的情況下，
《黑鷹墜落》劇照2(16張)三角洲軍士蘭迪·舒哈特以及蓋瑞·高登則自願前往墜機地點保護現場，他們找到了生還的駕駛杜蘭特，但三人還是無法敵過數以百計的索馬利亞民兵及居民的攻擊，蘭迪以及蓋瑞殉職，杜蘭特則被索馬里軍閥艾迪德所俘虜。 在彈盡糧絕的情況下，駐扎在「超級61」墜機地點附近的游騎兵（艾佛斯曼上士）以及三角洲小隊（傑夫·桑德斯士官長）遲遲無法脫離敵營，蓋瑞森少將最後則請求美國第十山地師和巴基斯坦維和部隊（出動裝甲車）幫忙，另一方面，三角洲士官長胡特則逕自率領士兵前往「超級64」墬機地點檢查有無生還人員，最後胡特與艾佛斯曼上士會合，在敵人猛烈的炮火攻擊之下，這一群被困在敵營的士兵們，被迫要再度與索馬利亞民兵決一死戰，另一方面，麥奈中校的悍馬車隊再度重回戰場，護送受傷以及死亡的隊員回到營地。最後艾佛斯曼上士與桑德斯士官長的小隊安全的回到了營地，這場15個小時的激戰算是暫時結束了。但是這場戰斗一共造成了19名美軍死亡，可說是相當慘烈的戰役之一。

『貳』 黑鷹墜落的電影 要求英文發音 中文字幕的 高清的 下載地址 急急急！！！

「黑鷹墜落」下載地址：

『叄』 求電影黑鷹墜落英文介紹

Black Hawk Down

BY ROGER EBERT / January 18, 2002

Cast & CreditsEversmann: Josh Hartnett
Grimes: Ewan McGregor
McKnight: Tom Sizemore
Hoot: Eric Bana
Sanderson: William Fichtner
Garrison: Sam Shepard

Columbia Pictures Presents A Film Directed By Ridley Scott. Written By Ken Nolan And Steve Zaillian. Based On The Book By Mark Bowden. Running Time: 143 Minutes. Rated R (For Intense, Realistic, Graphic War Violence, And For Language).

Ridley Scott's "Black Hawk Down" tells the story of a U.S. military raid that went disastrously wrong when optimistic plans ran into unexpected resistance. In Mogadishu, Somalia, in October 1993, 18 Americans lost their lives, 70 more were wounded, and within days President Bill Clinton pulled out troops that were on a humanitarian mission. By then some 300,000 Somalis had died of starvation, and the U.S. purpose was to help deliver U.N. food shipments. Somali warlords were more interested in protecting their turf than feeding their people--an early warning of the kind of zeal that led to Sept. 11.

The movie is single-minded in its purpose. It wants to record as accurately as possible what it was like to be one of the soldiers under fire on that mission. Hour by hour, step by step, it reconstructs the chain of events. The plan was to stage a surprise raid by helicopter-borne troops, joined by ground forces, on a meeting of a warlord's top lieutenants. This was thought to be such a straightforward task that some soldiers left behind their canteens and night-vision gear, expecting to be back at the base in a few hours. It didn't work out that way.

What happened was enemy rockets brought down two of the helicopters. The warlord's troops gathered quickly and surrounded the U.S. positions. Roadblocks and poor communications prevented a support convoy from approaching. And a grim firefight became a war of attrition. The Americans gave better than they got, but from any point of view, the U.S. raid was a catastrophe. The movie's implied message is that America on that day lost its resolve to risk American lives in distant and obscure struggles, and that mindset weakened our stance against terrorism.

The engagement itself seems to have degenerated into bloody chaos. Ridley Scott's achievement is to render it comprehensible to the audience. We understand, more or less, where the Americans are, and why, and what their situation is. We follow several leading characters, but this is not a star-driven project and doesn't depend on dialogue or personalities. It is about the logistics of that day in October, and how training did help those expert fighters (Army Rangers and Delta Force) to defend themselves as well as possible when all the plans went wrong and they were left hanging out to dry.

Scott's visual strategy takes advantage of the presence on that day of aerial spotter planes with infra-red sensors that could detect the movements of the humans below. As the battle unfolds, Shepherd and his fellow officers can follow it on screens, but are powerless to use this information. It is a useful tool for keeping the audience informed. (In my original review, I questioned the possibility of these eye-in-the-sky shots; countless readers told me they were based on fact and are described in Mark Bowden's book about the battle.) His longest day begins with a briefing by Maj. Gen. William F. Garrison (Sam Shepard), who explains how intelligence has discovered the time and location of a meeting by lieutenants of the warlord Mohamed Farrah Aidid. A taxi with a black cross on its roof will park next to the building to guide the airborne troops, who will drop down on ropes, be joined by ground forces, secure the building, and take prisoners. The problem with this plan, as Garrison discovers in steadily more discouraging feedback, is that the opposition is better armed, better positioned, and able to call on quick reinforcements.

We follow several stories. A man falls from a helicopter and is injured when he misses his descent rope. A pilot is taken prisoner. Desperate skirmishes unfold in streets and rubble as darkness falls. The Americans are short on ammo and water, facing enemies not particularly shy about exposing themselves to danger.

"Black Hawk Down" doesn't have heroic foreground figures like most war movies. The leading characters are played by stars who will be familiar to frequent moviegoers but may be hard to tell apart for others. They include Josh Hartnett, much more convincing here than in "Pearl Harbor," as a staff sergeant in command of one of the raiding teams; Ewan McGregor as a Ranger specialist whose specialties are paperwork and coffee-making until he is pressed into service; Tom Sizemore as a veteran who provides steady counsel for younger troops, and William Fichtner as a fighter who seems to have internalized every shred of training, and embodies it instinctively.

The cinematography by Slawomir Idziak avoids the bright colors of upbeat combat movies, and its drab, sty tones graally drain of light as night falls. The later scenes of the movie feel chilly and forlorn; the surrounded troops are alone and endangered in the night. The screenplay by Ken Nolan and Steve Zaillian, working from a book by Mark Bowden, understands the material and tells it so clearly and efficiently that we are involved not only in the experience of the day but also in its strategies and unfolding realities.

Films like this are more useful than gung-ho capers like "Behind Enemy Lines." They help audiences understand and sympathize with the actual experiences of combat troops, instead of trivializing them into entertainments. Although the American mission in Somalia was humanitarian, the movie avoids speechmaking and sloganeering, and at one point, discussing why soldiers risk their lives in situations like this, a veteran says, "It's about the men next to you. That's all it is."