钢琴家影评英文

这里有些经典台词，不知有用否？海上钢琴师 经典台词All that city. You just couldn’t see the end to it. The end PleaseYou please just show me where it ends It was all very fine on thatgangway. And I was grand too, in my overcoat. I cut quite a figure.And I was getting off. Guaranteed. There was no problem. It wasn’twhat I saw that stopped me, Max. It was what I didn’t see. Youunderstand that What I didn’t see. In all that sprawling city therewas everything except an end. There was no end. What I did not seewas where the whole thing came to an end. The end of the world...Take a piano. The keys begin, the keys end. You know there areeighty-eight of them, nobody can tell you any different. They arenot infinite. You are infinite. And on these keys the music that youcan make is infinite. I like that. That I can live by.You get me up on that gangway and you’re rolling out in front of mea keyboard of millions of keys, millions and billions of keys thatnever end, and that’s the truth, Max. That they never end. Thatkeyboard is infinite. And if that keyboard is infinite, then on thatkeyboard there is no music you can play. You’re sitting on the wrongbench. That’s God’s piano.Christ! Did, did you see the streets Just the streets… There werethousands of them! And how do you do it down there How do youchoose just one One woman, one house, one piece of land to callyour own, one landscape to look at, one way to die...All that world is weighing down on me, you don’t even know where itcomes to an end, and aren’t you ever just scared of breaking apartat the thought of it The enormity of living itI was born on this ship, and the world passed me by, but twothousand people at a time. And there were wishes here, but nevermore than fit between prow and stern. You played out your happiness,but on a piano that was not infinite. I learned to live that way.Land Land is a ship too big for me. It’s a woman too beautiful;it’s a voyage too long, a perfume too strong. It’s a music I don’tknow how to make. I could never get off this ship. At best, I canstep off my life. After all, I don’t exist for anyone. You’re anexception, Max, you’re the only one who knows I’m here. You’re aminority, and you better get used to it. Forgive me, my friend, butI’m not getting off.This is the way the world endsNot with a bang but a whimper——T·S·Eliot所有那些城市，你就是无法看见尽头。尽头？拜托！拜托你给我看它的尽头在哪？当时，站在舷梯向外看还好。我那时穿着大衣，感觉也很棒，觉得自己前途无量，然后我就要下船去。放心！完全没问题！可是，阻止了我的脚步的，并不是我所看见的东西，而是我所无法看见的那些东西。你明白么？我看不见的那些。在那个无限蔓延的城市里，什么东西都有，可惟独没有尽头。根本就没有尽头。我看不见的是这一切的尽头，世界的尽头。拿一部钢琴来说，从琴键开始，又结束。你知道钢琴只有88个键，随便什么琴都没差。它们不是无限的。你才是无限的，在琴键上制作出的音乐是无限的。我喜欢这样，我活的惯。你把我推到舷梯上然后扔给我一架有百万琴键的钢琴，百万千万的没有尽头的琴键，那是事实，max，它们没有尽头。那键盘是无限延伸的。然而如果琴键是无限的，那么在那架琴上就没有你能弹奏的音乐，你坐错了地方，那是上帝的钢琴。天啊！你……你看过那些街道吗？仅仅是街道，就有上千条！你下去该怎么办？你怎么选择其中一条来走？怎么选择“属于你自己的”一个女人，一栋房子，一块地，或者选择一道风景欣赏，选择一种方法死去。那个世界好重，压在我身上。你甚至不知道它在哪里结束，你难道从来不为自己生活在无穷选择里而害怕得快崩溃掉吗？我是在这艘船上出生的，整个世界跟我并肩而行，但是，行走一次只携带两千人。这里也有欲望，但不会虚妄到超出船头和船尾。你用钢琴表达你的快乐，但音符不是无限的。我已经习惯这么生活。陆地？陆地对我来说是一艘太大的船，一个太漂亮的女人，一段太长的旅行，一瓶太刺鼻的香水，一种我不会创作的音乐。我永远无法放弃这艘船，不过幸好，我可以放弃我的生命。反正没人记得我存在过，而你是例外，max，你是唯一一个知道我在这里的人。你是唯一一个，而且你最好习惯如此。原谅我，朋友，我不会下船的。附：1900 Moonlight city. You just couldn’t see an end to it.It wasn’t what I saw that stopped me ,Max.It was what I didn’t see.Take the piano.Keys begin. Keys end.You know there are 88 of them.They’re not infinite. You’re infinite.And on those keys, the music that you can make is infinite.I like that. That I can live by.But you get me up on that gangway, and you roll them outin front of me.Keyboards have millions and billions of keys that never end.That keyboard is infinite.Then on that keyboard there’s no music you can play.That’s God’s piano.Did you see the streetsThere’re thousands of them.How do you choose just oneOne woman, one house, one way to die…….You don’t even know where it comes to an end.Aren’t you ever just scared of breaking apart with thethought of itI was born on this ship.And the world passed me by.But 2000 people at a time and there’re old wishes here .But nevermore that fit between prow and stern..You played out your happiness bit on a piano that was notinfinite.I learned to live that way.LandLand is a ship too big for me,It’s a woman too beautiful, a bridge too long, perfume tostrong, music I don’t know how to play.I can never get off this ship.At best, I didn’t step off my life.After all, I don’t exist for anyone.译文：偌大的城市，绵延无尽。并非是我眼见的让我停住了脚步，而是我所看不见的。你能明白吗？拿钢琴来说。键盘有始亦有终。你确切地知道88个键就在那儿，错不了。它们并不是无限的，而你，才是无限的。你能在键盘上表现的音乐是无限的。我喜欢这样，我能轻松应付。而你现在让我走过跳板，走到城市里，等着我的是一个没有尽头的键盘。我又怎能在这样的键盘上弹奏呢？那是上帝的键盘啊！你看到那数不清的街道吗？如何只选择其中一条去走？一个共渡一生的女人，一幢属于自己的屋子，一种生与死的方式你甚至不知道什么时候才是尽头。一想到这个，难道不会害怕、会崩溃吗？我在这艘船上出生。世事千变万化，然这艘船每次只载2000人。这里有着希望，但仅在船头和船尾之间。你可以在有限的钢琴上奏出你的欢欣快乐。我习惯了这样的生活。陆地？陆地对我来说是一艘太大的船，太漂亮的女人，太长的旅程，太浓烈的香水，无从着手的音乐。我永远无法走下这艘船，这样的话，我宁可舍弃我的生命。毕竟，我从来没有为任何人存在过，不是么？

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。

--------------------------------------------------------------------------------英文影评He's a man so brave, that he can play the imaginary piano when exploded with the ship he was born, lived and died in. Yet he's a man so scared, that he cannot face the infinite city life we are living everyday. He's a man so intelligent, that he can play the piano as if he has four arms (or I'd rather say, he has God's arms). Yet he's a man so stupid, that he chose to gone with the wind while he's other choice could be marrying a beautiful woman and having a child. He's a man so perceptive, that he could use his music language to describe exactly others' feelings. Yet he's a man so insensitive that he'd rather disappear after a gentle kiss on his beloved while she's asleep than unburden himself and tell her "ILU". But one thing is for sure: this man is a real artist--pianist. Only a man like him can dance with the piano in a terrifying storm. Only a man like him can give up the first two bouts of a duel, and beat the competitor entirely, convincingly, potently in the last bout. Only a man like him... can have such a beautiful story to tell... This man is Danny Boodmann T.D. Lemon Nineteen Hundred, who is also known as simply "1900". A man never existed. He has never set foot on land in his entire life. No ID. No passport. No Visa. No parents. No birthday. Nothing in the world belongs to him except his music. So he played. For the first class guests. For the third class members. For the girl at the window. For the darkness of the night. For the heartbeat of his own. For the sea-- his eternal home. He had once wanted to get off the ship. To meet his girl and to hear the voice of the sea, as he always wanted to. He hugged friends goodbye and waved and went down. But his pace became slower and slower, and finally stopped. As he described at the end of the movie: "Nineteen Hundred: All that city. You just couldn't see the end to it. The end? Please? You please just show me where it ends? It was all very fine on that gangway. And I was grand too, in my overcoat. I cut quite a figure. And I was getting off. Guaranteed. There was no problem. It wasn't what I saw that stopped me, Max. It was what I didn't see. You understand that? What I didn't see. In all that sprawling city there was everything except an end. There was no end. What I did not see was where the whole thing came to an end. The end of the world... Take a piano. The keys begin, the keys end. You know there are eighty-eight of them, nobody can tell you any different. They are not infinite. You are infinite. And on these keys the music that you can make is infinite. I like that. That I can live by. You get me up on that gangway and you're rolling out in front of me a keyboard of millions of keys, millions and billions of keys that never end, and that's the truth, Max. That they never end. That keyboard is infinite. And if that keyboard is infinite, then on that keyboard there is no music you can play. You're sitting on the wrong bench. That's God's piano. Christ! Did, did you see the streets? Just the streets?There were thousands of them! And how do you do it down there? How do you choose just one? One woman, one house, one piece of land to call your own, one landscape to look at, one way to die... All that world is weighing down on me, you don't even know where it comes to an end, and aren't you ever just scared of breaking apart at the thought of it? The enormity of living it? I was born on this ship, and the world passed me by, but two thousand people at a time. And there were wishes here, but never more than fit between prow and stern. You played out your happiness, but on a piano that was not infinite. I learned to live that way. Land? Land is a ship too big for me. It's a woman too beautiful; it's a voyage too long, a perfume too strong. It's a music I don't know how to make. I could never get off this ship. At best, I can step off my life. After all, I don't exist for anyone. You're an exception, Max, you're the only one who knows I'm here. You're a minority, and you better get used to it. Forgive me, my friend, but I'm not getting off." He didn't get off. That's what he said and he did. As I mentioned above, he died with the ship, in the explosion. I believe at this point of the movie, no body can hold their tears back. By the way, this movie is Directed by Giuseppe Tornatore, who is also the director of Nuovo cinema Paradiso and Malèna. Some people say the legend of 1900 is the director's compromise to Hollywood-style-commercial movie. Well, I know nothing about this kind... It's a excellent movie. Much I could say.

I can remember when this film came out I was adamantly against seeing it. I had my preconceived notions that it would be some other heroic Jewish Holocaust film where good triumphs over evil and in between we would see some brutal atrocities committed by the Germans to add some flavour.How wrong I was.This is one of the best films I have ever seen and what it did to me I cannot describe in words. But in a nutshell, it moved me, made me cry, made me feel like I was in the Polish ghetto in 1940, and ultimately made me kiss the sidewalks as I walked out of the theater and thanked God that I live in the free society that I do. Roman Polanski has proven that he is a great director with films like Chinatown and Rosemary's Baby but this is his crowning achievement. I think the fact that this won the awards that it did at this years Oscars goes a long way to validate the brilliance of this film. I believe that the Oscar's are rigged for the most part and films and actresses and such win based more on their pedigree or business associations than anything else, so when it won best actor and director and adapted screenplay this year, it tells you that it should have won best picture but the Weinsteins seem to have a spell over everyone, hence a charlatan like Chicago takes top prize. Sorry for the digression here but when you compare a "film" like Chicago to a masterpiece like The Pianist, there really is one clear cut winner. They handed out the statue to the wrong movie.The Pianist follows up and coming piano player Wlad Spielzman from his days as a local hero to a prisoner of war to his time in the ghettos, surviving only by the kindness of strangers. I think many people have touched on this before but what makes this film so amazing and well crafted is because Spielzman is a man that we can all relate to. He is not a hero, he is not a rebel and he is not a kamikazee type that wants and lusts after revenge. He is a simple man that is doing everything in his power to stay alive. He is a desperate man and fears for his life and wants to stay as low as he can. Only from the succor he receives from others does he manage to live and breathe and eat and hide. And this is how I related to him. If put in his position, how would I react? Exactly the way he did. This is a man that had everything taken from him. His livelihood, his family, his freedom and almost his life. There is no time for heroics here. Adrien Brody embodies the spirit of Spielzman and his win at this years Oscars was one of the happiest moments I have had watching the festivities. His speech was even better but that is a topic for another time.Ultimately it is his gift of music that perhaps saves his life and the final scene that he has with the German soldier is one of the best scenes I have ever seen in my entire life. There is so much emotion in his face, his hands, his music, his eyes that one can't help but realize that what Brody did in this film is give a performance of a lifetime and one for the ages. I think Polanski spoke from the heart here. He has taken a palette of memories and amalgamated them with what he has read and given us one of the best films of our generation and any other. I think The Pianist will go down as one of the best films of this century and when all is said and done, Chicago will be forgotten the way Ordinary People was forgotten and when people talk about the film The Pianist, they will do so with reverence and respect. This is a cinematic masterpiece.

The Pianist is an account of the true life experience of a Polish pianist during WW2, in the context of the deportation of the Jewish community to the Ghetto of Warsaw, a setting virtually absent from all films inspired on WW2.Polanski (himself a child survivor of the Krakow and Warsaw ghettos) could have described in more detail the legendary, desperate fighting of the Jewish resistance in the ghetto of Warsaw, or the horrific mass extermination in concentration camps. Instead, the film gains in intensity by displaying the war from the pianist's own point of view (through windows, half-opened doors, holes in the walls - with big emphasis on the use of "point of view shooting" by the cameraman). One cannot help feeling disturbed by the most enthralling scenes of the film, as the isolated pianist tries to ensure his survival in the ghetto and ruins of Warsaw, hiding and fleeing, moving from one bombed house to the next, gradually becoming a shadow of his former self, hungry and afraid (merit largely attributed to the extraordinary performance by Adrien Brody, who visibly loses half of his weight throughout the film).Does the pianist raise any sympathy from the audience? Not immediately, in my view. The pianist is more than often a drifting character, almost a witness of other people's and his own horrors. He seems to float and drift along the film like a lost feather, with people quickly appearing and disappearing from his life, some helping generously, others taking advantage of his quiet despair, always maintaining an almost blank, dispassionate demeanour. One may even wonder why we should care in the least about this character. But we do care. That is, I believe, the secret to this film's poetry.In one of the strongest scenes, towards the end, a German officer forces the pianist to play for his life, in an episode that suddenly brings a much lighter, beautifully poetic shade to the film (this German officer will be probably compared to Schindler, although his philanthropy does not quite share the same basis).This is also a wonderful tribute to Polish artists, through Chopin's music, with the concert at the very end of the film and the opening performance by the pianist at the local radio station (with the sound of bomb explosions in the background) forming an harmonious link between the beginning and end of the film (following Polanski's usual story-frame).Overall, The Pianist is one of the most detailed and shocking accounts of the treatment of the Jews by the Nazis, with the atmosphere in Warsaw well captured and believable. Quite possibly, The Pianist will remain in the history of film-making as the most touching and realistic portraits of the holocaust ever made.Polanski's film deserves a strong presence in the 2003 Oscar nominations, including a nomination for Adrien Brody's amazing performance, Polanski's sublime direction, best adapted screenplay and, obviously, best picture. This could be, at last, Polanski's long awaited, triumphal comeback to the high and mighty Hollywood.

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.