钢琴家英语影评

范文：In the film, although Spearman escaped from death again and again with the help of various friends and strangers, in that group of people, human nature is not always simple and great.

The pianist shows how the environment shapes people and makes people grow or distort in the "troubled times" with only terror, loneliness and instinct.

The impact of war on human hearts is beyond our imagination. What is more valuable is that the film lens is extremely calm and objective, avoiding all complaints and sensationalism.

该片中，斯皮尔曼虽然在各种朋友、陌生人的帮助下一次又一次死里逃生，但在那群人里，人性并不都是单纯的、伟大的。

《钢琴家》所展示的是，在只剩下恐怖、孤独和本能的“乱世”里的众生相，环境究竟如何塑造人，让人获得成长或者扭曲，战争对人类心灵的影响超出我们的想象。而更可贵的是，影片镜头极度冷静、客观，回避了所有控诉和煽情。

The film, according to the Autobiography of Poland Jewish composer and pianist Wladyslaw Splman, describes the story of a Jewish pianist in Poland during the Second World War.

1900年1月1日，船工丹尼在弗吉尼亚号游轮舞厅的钢琴上捡到了一个弃婴，他将这个小孩起名叫1900。1900从小在丹尼细心的关怀和善意的谎言中自由健康地成长。丹尼因意外事故不幸去世后，1900一次无意间来到舞厅外，他第一次见到钢琴。于是1900的传奇正式开始！人间如船上的乘客一般，上船，下船，再上船，下船。如此周而复始。对于1900来说，整个世界一览无余。所以他虽身在海上，但却早已看尽了陆上人世间的繁华与落寞，辉煌与凄凉。 最后这个天才要回到天堂去了，天堂里有钢琴吗？在轮船被炸毁的前一刻，1900的双手在凭空弹奏，那纤巧的手指随着背景音乐的节奏在上下起伏，仿佛在扣响天堂的大门。 翻译:1st January 1900, ship crew Danni picked up a abondonded baby on the piano inside the hall of the ship， and he named this baby 1900. 1900 grew up happily under the care and white lies of Danni. After the accidental death of Danni, 1900 came to the hall by chance and he saw the piano for the first time. Now, the legend of 1900 begins.Life is like the passangers on the boat, abroad, getting off aboard and getting off again, in this sequence. to 1900, there is nothing more about life. Although he lives on the sea, but he has looked through all the honour, lonliness, gain and fall of life amoung the men on the land around.at last, this talented man is going backto the sky, the heaven. Are there pianos in the heaven? at the time of the explosion of the ship, 1900 played his hands in the air, the beautiful fingers move as the background music flows, as if knocking on the doors to heaven.

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The Szpilman family rejoices to hear that Great Britain and France have joined the war and Poland is no longer alone, but soon thereafter they've been moved to a 'new' apartment and watch in horror as the wall which will define the Warsaw Ghetto is erected outside their window. Only one of them, Wladyslaw (Adrien Brody, "Summer of Sam"), will survive in Roman Polanski's 2002 Palme d'Or winner, "The Pianist."Polanski is quick to establish Wladyslaw's determination not to be silenced by his continuing to play Chopin as the recording studio he inhabits is destroyed by German bombs. Brody quietly and confidently inhabits Szpilman in one of the best and most rigorously sacrificial (Brody both learned to play the piano and lost 30 pounds for the role) performances of the year. Polanski, bringing his own Holocaust survival memories to the table, has made his best film since 1974's "Chinatown."As adapted from Szpilman's book by Ronald Harwood ("Cry the Beloved Country"), "The Pianist" is divided into three sections. In the first the Szpilman family is established - loving, genteel parents (Frank Finlay, "Dreaming of Joseph Lees" and Maureen Lipman, "Solomon and Gaenor"), rash older brother Henryk (Ed Stoppard, "The Little Vampire"), sensible sister Regina (Julia Raynor, "Topsy-Turvy") and charming younger sister Halina (Jessica Kate Meyer). The closeness of the family is underlined when Henryk and Halina, who had been weeded out of the passengers being sent to Treblinka, choose to rejoin the family instead. The film's understated ability to wrench the heart is effected when Wladyslaw simply tells Halina that he wished he knew her better. The horrors, like a woman wailing on the platform because she suffocated her baby attempting to keep it quiet in their hiding place, are more effective for Polanski's shooting them on a fabulously bright, sunny day.This act is closed when Wladyslaw is saved by former friend Itzak Heller (Roy Smiles), now a Nazi collaborator working as an auxiliary policeman. Polanski just moves on - the other members of the Szpilman family are never referred to again and their erasure is all the more poignant for it. Szpilman's luck works again when an old colleague and her husband hide him in an apartment from which he can view the Ghetto uprising, but a profiteering pal leaves him for weeks at a time with no food. A noisy accident uncovers his presence to nosy neighbors and Szpilman is forced to evacuate. He's hidden again, but eventually the starving man joins the living dead who wander the shell of a bombed out city in a bleak winter landscape. Nested in the attic of an abandoned manse, Szpilman is discovered by a German officer (Thomas Kretschmann, "U-751," providing able support), who feeds and clothes him in appreciation of his musical talent. "The Pianist" will constantly be compared to "Schindler's List," but where that film accentuated its horrors, this one instills them more deeply by presenting their everydayness. A family of six share one caramel before being scattered to the winds. A woman crumples in the street, shot. An old man curries favor by playing the fool and the Germans so enjoy his mugging and scraping they force an entire group of Jews to dance in the street.Technically, the film has a bright crystalline quality beginning with Pawel Edelman's stunning deep focus photography. His work is so crisply detailed that during Szpilman's impromptu concert for Captain Hosenfeld he captures light shining through the cartilage of Brody's nose, emphasizing the man's etherealness. Sound (Jean-Marie Blondel) is also notable as Szpilman catches conversations next door, or walks through a hole in a wall, his ears muffled and ringing from the blast. Visual effects include terrific matte work to convey Warsaw's devastation."The Pianist" is a powerful achievement, an epic tale of a musical survivor that's strength lies in its hushed tone.