电影紫色英文简介
㈠ 求电影 紫色 的英文影评
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,这是我转载的一篇,告诉你网址,要找英文影评以后就找准这个网站哟.
http://www.rottentomatoes.com/
㈡ 《紫色》，女人之间的治愈：女人不自信，可以看看这部电影！
电影《紫色》由斯皮尔伯格导演，上映于1985年，是一部讲述一对黑人姐妹，从分离到团聚的故事，这部影片的镜头处理方式，可以作为导演的教科书级别的电影！
这部电影里面的，几组女性角色的关系，我觉得很有意思！
首先就是电影的主角，两个姐妹，西丽和娜蒂，她们两个是相依为命的好姐妹，特别是对于姐姐西丽来说，妹妹就是她对生活唯一的精神支柱。
她们的母亲早逝，继父强迫西丽给他生了两个孩子，一出生就卖给了有钱人，她再也没见过她的孩子！
所以，只有屋前的那一片紫色的花海，是她们姐妹游玩嬉戏的乐园，也是唯一能忘却生活的忧伤的净土，它的颜色那样明亮，甚至与整部电影灰暗的色彩，显得有点格格不入，可正式如此，更凸显出它带给人的希望的冲击感！
继父是一个恶魔，他是不会任由，她们姐妹一直安逸的生活的。不久，一个叫做艾伯特的男人，看上了妹妹娜蒂，想要娶她为妻。可是，继父不答应，他让姐姐西丽嫁给那个男人。
也许继父他玩腻了西丽，西丽没有妹妹长得好看，他最近又看上了妹妹，想着把姐姐嫁出去，就更好对妹妹下手了！
西丽的嫁过去，生活更加凄惨，她从一个泥潭，又掉入了另一个深渊。
这个男人，她称之为“先生”，他只是想找一个女佣人和一个发/泄的工具。他前妻留下了一堆孩子，家里乱成一个垃圾场，西丽每天忙着做家务，照顾这些孩子，就已经累的直不起腰；可是，艾伯特还经常稍不满意就打西丽……
西丽是一个隐忍的女人，因为她从小就被打怕了，反抗对她而言，只是换来更狠的一顿毒打，这个社会，男人打女人是为了让她听话，是天经地义的事情。所以，她觉得自己逃不掉，她只能默默忍受！
有一天，妹妹突然来找她，因为继父终于对她动手，她逃了出来。西丽求艾伯特留下妹妹，艾伯特竟然同意了，当然他也没安好心！
姐妹俩又有了几个月单独的相处时间，她们两个一起干活，一起读书认字，一起玩小时候的拍手游戏，这是她们两个最喜欢玩的游戏！
就在姐妹俩开心的游戏时，一双别有用心的眼睛，一直在盯着妹妹看，终于恶魔要露出本来的面目了，艾伯特，在妹妹上学的路上，截住了她，想要图谋不轨，被妹妹用书打了下面，才得以逃脱这一次的伤害。
可是，这也惹怒了这个男人，他把娜蒂赶出来家门，不允许她们姐妹再相见，姐姐西丽哭着求着也无法留下她，她喊着妹妹，记得写信！
后来，妹妹确实写了信，可是姐姐30年都没有收到，因为艾伯特悄悄藏了起来。
莎格是艾伯特的旧情人，她是一个歌女，身材火辣，长相迷人，是一个有魅力的女人。也是艾伯特的死穴，他对莎格言听计从，还亲自给她做饭。
西丽也很喜欢莎格，因为只有莎格可以发现自己的美，她还专门写了一首歌送给西丽；鼓励西丽笑的时候不要捂着嘴巴，跟她说，她的笑容很美！
很多人解读为，她们两个是同性恋，但我觉得，莎格只是教西丽怎么感受爱，她亲吻她，让她感受到真正的爱的感觉，让她永远不要失去感受爱的能力！
西丽不想莎格离开，因为她在，艾伯特就不会打她。但莎格是一个喜欢漂泊的人，不可能一直停留。
第一次，莎格离开的时候，西丽很想跟她说，让她带自己走，可是最后她只说了：“我会想念你！”
第二次，莎格带着老公来看他们，艾伯特和西丽都很失望，感觉两人同时失恋的感觉。
现在的西丽，已经变得更勇敢了，莎格带着她，发现了妹妹这些年的来信，她开始了读信的生活，妹妹还活着，她一定要等到妹妹的回来。
这一次，西丽选择跟莎格离开这个男人，她要好好的生活，等着妹妹回来。
当你勇敢了，好像生活也不再那么为难你。继父去世了，她继承了家里的房子，她又回到了那片紫色的花海，等着妹妹回来！
妹妹终于回来了，分离了30年，她们又可以在紫色的花海中，玩着小时候的拍手游戏了！
这一次回来的，还有她被卖给别人的女儿和儿子。而且还是艾伯特悄悄帮的忙，也许在这个男人的心中，多少还是对西丽有些感情的吧！
索菲亚是艾伯特儿子哈勃的妻子，她是一个很有主见的女人，所以她老是指挥自己的丈夫做事。
当哈勃向西丽请教，怎么让索菲亚更听话的时候，西丽说：“打她！”
这也是很多人诟病西丽的地方，觉得她怎么这样懦弱和可恶。可是，你设身处地站在西丽的境地，你渴望她能说出什么样的话呢？她从小就是这样被调教大的，她不知道还有其他的方式可以活下去！
于是，索菲娅离开了这个家，因为她无法呆在这个打她的男人身边！
而这不平等的世道，也给索菲亚好好上了一课，因为无法忍受白人市长对自己孩子的歧视，她被判了8年！
8年后，出来的她头发全白了，一支眼睛瞎了，一条腿瘸了，她的灵魂也没了，曾经那么要强的一个人，变成这样，看着真的让人好压抑！
可是，最后帮苏菲亚找回自我的还是西丽。
因为西丽不再逆来顺受，她也会表达自我了！她的变化一点点地唤醒了，苏菲亚那颗已经枯萎的心，她又回来了，那个霸气的苏菲亚又回来了！
她们两个相爱相杀，又互相治愈的感觉！
我觉得女人不自信的时候，可以看看这部电影，会让你汲取到很多能量的！