黑鹰坠落电影英文翻译

‘壹’ 找一部电影，美国片，好像是描述黑鹰坠落的续集！

《黑鹰坠落》！ （ Black Hawk Down）
本片描述1993年的摩加迪沙战争的战争情况，片中描述美军由三角洲特种部队以及游骑兵特种部队所组合而成的战斗队伍，与索马利亚千计的武装民兵缠斗的故事。 1993年这支特种部队任务是要捉拿当时在索马里军阀艾迪德两位重要手下的任务，
《黑鹰坠落》电影剧照(13张)原本任务预计约半小时，由三角洲部队先逮捕两位目标后，再由丹尼·麦奈中校（汤姆·赛斯摩饰演）所指挥的悍马车队护送回营地。不料由克里夫顿·威考驾驶的“超级61”黑鹰直升机遭到索马里民兵RPG-7火箭的攻击而坠机，使得在目标建筑物附近建立防线的游骑兵部队必须前往坠机地点检查有无生还者，结果最后演变成15小时的持久战斗。 游骑兵的小队在第一架黑鹰直升机坠落后，纷纷赶往坠机地点建立防线，其中包括艾佛斯曼上士所率领的游骑兵第四小队（Chalk Four），最后只有一名生还者在掩护下被送走。而麦奈中校的悍马车队则因为遭到强烈攻击而先返回营地，但同时却又有另一架黑鹰直升机遭到攻击，由麦可·杜兰特所驾驶的“超级64”也坠机，在其他小队无法立即支援的情况下，
《黑鹰坠落》剧照2(16张)三角洲军士兰迪·舒哈特以及盖瑞·高登则自愿前往坠机地点保护现场，他们找到了生还的驾驶杜兰特，但三人还是无法敌过数以百计的索马利亚民兵及居民的攻击，兰迪以及盖瑞殉职，杜兰特则被索马里军阀艾迪德所俘虏。 在弹尽粮绝的情况下，驻扎在“超级61”坠机地点附近的游骑兵（艾佛斯曼上士）以及三角洲小队（杰夫·桑德斯士官长）迟迟无法脱离敌营，盖瑞森少将最后则请求美国第十山地师和巴基斯坦维和部队（出动装甲车）帮忙，另一方面，三角洲士官长胡特则迳自率领士兵前往“超级64”墬机地点检查有无生还人员，最后胡特与艾佛斯曼上士会合，在敌人猛烈的炮火攻击之下，这一群被困在敌营的士兵们，被迫要再度与索马利亚民兵决一死战，另一方面，麦奈中校的悍马车队再度重回战场，护送受伤以及死亡的队员回到营地。最后艾佛斯曼上士与桑德斯士官长的小队安全的回到了营地，这场15个小时的激战算是暂时结束了。但是这场战斗一共造成了19名美军死亡，可说是相当惨烈的战役之一。

‘贰’ 黑鹰坠落的电影 要求英文发音 中文字幕的 高清的 下载地址 急急急！！！

“黑鹰坠落”下载地址：

‘叁’ 求电影黑鹰坠落英文介绍

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."