Hope, freedom and redemption
When I finished the Shawshank Redemption, I was profoundly moved and shocked. There are three words emerging in my mind: hope, freedom and redemption, which I think are the keynotes the movie attempts to convey transmit to the audiences.
To be full of hopes and pursuit of freedom is a basic human right. But hope is a terrible thing for the prisoners of Shawshank. Red said,"These walls are kind of funny like that. First you hate them, then you get used to them. Enough time passed, get so you depend on them." This change, we have to say, is a gradual process of abandoning hope, and they feel much easier in Shawshank than outside, just like Brooks. Brooks is a tragedy. He has been used to the life in the Shawshank and he has given up both hope and freedom. When he paroles from prison, he cannot adapt to the society out of the jail, so he always feels worried and fearful. Actually, it is the freedom which he never hopes to get that makes him feel worried. He wants to get safety. He wants to prove his existence, but he hangs himself finally. He can't enjoy the freedom.
Brooks fails in the hope and freedom. How about Red? In fact, Red has the same predicament as Brooks. Although he doesn't utterly lose the longing for freedom, but he doesn't really believe in the hope. He even thinks that hope is a dangerous thing. But for the help of Andy, he wouldn't have succeeded in the true freedom in the end. In contrast, Andy embodies the contrary mentality. The walls of Shawshank can't bondage his pursuit of hope and freedom. He said,"Hope is a good thing, maybe the best of things, and no good thing ever dies." He never gives up hope even in the jail.
Virtually, because of the indestructible hope, he finally gets rid of the jail and obtains the freedom. He takes himself for example to prove that hope and freedom are terrific, and demonstrably he is right.
Andy not only salvages himself, but also propagates hope to others. He strives beers for inmates, remolds the library of the jail, plays music of Italy, helps some prisoners who are serving short prison terms to learn and attain a high school diploma so that they can be more qualified after they released. All of these things are for the redemption of others who serve in Shawshank. With the hope, he gets down to redeeming others, just like Red. Suppose Andy himself gives up hope, gives up the pursuit of freedom, what will happen? I do believe that he can't save himself, let alone extending a hand to others’ salvation.
Hope is incomparably splendid thing. By virtue of hope, we can pursue freedom, we can get redemption of ourselves and liberate others. Never let hope go, and carve it in mind,"Fear can hold you prisoner. Hope can set you free".
自我救赎和救赎他人 《肖申克的救赎》：对人性的深层思考 胡卫东 【摘要】：1994年发行的电影《肖申克的救赎》讲述的是一个蒙冤入狱的银行家在经过20年漫漫的监狱生涯后成功越狱的故事．虽然它遇到了强劲的竞争对手《阿甘正传》而没能在1 995年奥斯卡颁奖中折桂，但是上映十几年来它感染了一批又一批的电影观众，被许多人视之为必看的励志影片之一。解读电影中的隐喻，可以唤起人们对自身在现代社会发展中价值取向和奋斗目标的思考。 一、故事梗概 故事发生在1947年，银行家安迪被指控枪杀死了妻子和她的情人而被判无期徒刑，被送往肖申克监狱并将在监狱中度过余生。安迪在狱中结识了瑞德，两人成为好朋友。瑞德是肖申克监狱中的。权威人物”，他通过秘密通道能搞到任何你想要的东西：香烟、糖果、酒，甚至是大麻。安迪请瑞德帮他搞的第一件东西是一把小鹤嘴锄，用来雕刻以便消磨时光，并说他自己想办法逃过狱方的例行检查。不久，瑞德就玩上了安迪雕刻的国际象棋。之后，安迪又搞了一幅电影女明星丽塔·海华丝的巨幅海报贴在了牢房的墙上。一次，安迪和几个犯人外出劳动，无意间听到监狱官海德利抱怨继承遗产不得不交税的事。安迪说他有办法可以使监狱官合法地免去继承遗产的一大笔税金，作为交换，他为几名狱友每人争得了两瓶Tiger啤酒。由于安迪精通财务及税务方面的知识，很快他摆脱了狱中繁重的体力劳动和其他变态囚犯的骚扰而调至图书馆工作。不久，声名远扬的安迪开始为越来越多的狱警处理税务问题，甚至为狱警的孩子的升学提供建议。同
时安迪也逐步成为肖申克监狱长诺顿洗钱的重要工具。由于安迪不停地写信给外I议院，终于为监狱申请到了一笔资金用于监狱图书馆的建设。安迪在监狱里的生活似乎过得平静而有意义。但这时一个年轻犯人汤米的到来打破了安迪平静的狱中生活，他以前在另一所监狱服刑时听到过安迪的案子，他知道谁是真凶!但当安迪向监狱长提出要求重新审理此案时，却遭到了断然拒绝，并受到了单独禁闭2个月的严重惩罚。为了防止安迪获释，监狱长不惜设计害死了知情人!每天都在用那把小鹤嘴锄挖洞，然后用海报将洞口遮住。安迪出狱后，领走了部分监狱长存的黑钱，并告发了监狱长贪污受贿的真相。瑞德获释后，在橡树下找到了一盒现金，他用这笔钱离开了美国，两个老朋友终于在墨西哥阳光明媚的海滨重逢了。 二、自我救赎 如果说肖申克监狱对安迪的拯救，是使他在艰难的处境下努力改造自己，那么，安迪的最终自由，则是他对自我的救赎。我们可以看到影片中的安迪，沉默寡言，然而却有着善良的微笑和坚毅的眼神。刚入狱不久，他设法从无所不能的瑞德那里买到了一个鹤嘴锄，开始实施他的越狱计划。在监狱老手瑞德的眼中，安迪是那么的与众不同，他的神态他的举止都不同于其他的犯人，在犯人放风的大操场上，安迪闲庭漫步，如同在自家的后花园一样悠闲自在。安迪的这种气质是与生俱来的，他平和的心态也是与生俱有的，只是经过了监狱生活的磨砺，他更加懂得了自由的可贵。他平静如湖水，深的让人看不到底，你可以说那是智慧，一个有大智慧的人往往可以直面人生的挫折。但笔者认为，安迪之所以平静的生活，是因为他心中有希望。只有心存希望的人，面对绝境才不会轻易绝望，哪怕身陷黑暗的泥淖，依然可以在心中燃起希望的火苗。只因有希望，他才会在苦难中保持着优雅自信的微笑。帮狱警海利避税是安迪成功的第一步。安迪帮海利出主意，说是把财产赠予妻子就可免于缴税，安造成功了，为一起干活的狱友们赢得了每人三瓶啤酒。在上午十点的阳光下，大家坐在屋顶上，喝着冰镇啤酒，那种感觉，就像在自家屋顶上一样。瑞德说得好：“你可以说安迪是在讨好狱 警，或者说想赢得狱友们的友谊，但我觉得他只是想享受失去了的自由，哪怕仅此一刻。”是啊，看着安迪那舒心的微笑，那一刻，你会由衷的感到自由是一件
The Blind Side Have you ever seen the famous film ‘The Blind Side’ which moved and so many people? I love this film so much that whenever I feel down I will watch it again and again to encourage myself.I really have learned a lot from this film. Firstly, I'd like to introduce you about the film. The film tells the story of a homeless African American boy Michael Oher is a young children, again to escape from the adoptive family, finally met a kind-hearted Touchy wife, by her help, Michael Oher gradually find themselves in their own physical condition and hard work, he finally became the first American National Football League player. Secondly, As far as I am concerned, Michael Oher is unfortunately, because he is a child that he has been abandoned many times, but he is lucky. Because he met the Leigh Anne Touchy. She was very cared about him, taught him how to shop, and told him said what he want. Sean Touchy was the first person in the family to pay attention to the Michael. He supported his wife and cared about that boy. Even though he didn't say anything, we could see it from his behavior. Although S.J is a child, but he is intelligent, mischief and he is a little football fan, he helped Michael training, encouraging the Michael , in his mind, Michael is a big brother. Collins, although Michael's arrival at the beginning of her caused some problems, but in the end, she was accepted this brother, regardless of her students in the eyes of surprise self-study with him and hide behind the wall and listen to the mother to Michael and tells the story of S.J. Then, He asked Touchy wife for a driver's license, in his view, this is a proof of identity, and he wants to live a normal life. When he entered the black town he refusing to let Touchy lady get off, blocking the S.J with his arm in an accident when, in his mind, that’s his family, and when his family is in danger, he must go to protect them. Last but not least, I think we will be moved by the Anne family behavior; Michael will also be responsible and keep moved, he insisted, gradually overcome those difficulty to become a successful football superstar. This is a film about sports Michael in the care of the family of Anne, Step by step effort and success. Then we
Journey to the Center of the Earth（地心游记）2008 There is a part of me that will always have affection for a movie like "Journey to the Center of the Earth." It is a small part and steadily shrinking, but once I put on the 3-D glasses and settled in my seat, it started perking up. This is a fairly bad movie, and yet at the same time maybe about as good as it could be. There may not be an 8-year-old alive who would not love it. If I had seen it when I was 8, I would have remembered it with deep affection for all these years, until I saw it again and realized how little I really knew at that age. You are already familiar with the premise, that there is another land inside of our globe. You are familiar because the Jules Verne novel has inspired more than a dozen movies and countless TV productions, including a series, and has been ripped off by such as Edgar Rice Burroughs, who called it Pellucidar, and imagined that the Earth was hollow and there was another world on the inside surface. (You didn't ask, but yes, I own a copy of Tarzan at the Earth's Core with the original dust jacket.) In this version, Brendan Fraser stars as a geologist named Trevor, who defends the memory of his late brother, Max, who believed the center of the Earth could be reached through "volcanic tubes." Max disappeared on a mysterious expedition, which, if it involved volcanic tubes, should have been no surprise to him. Now Trevor has been asked to spend some time with his nephew, Max's son, who is named Sean (Josh Hutcherson). What with one thing and another, wouldn't you know they find themselves in Iceland, and peering down a volcanic tube. They are joined in this enterprise by Hannah (Anita Briem), who they find living in Max's former research headquarters near the volcano he was investigating. Now begins a series of adventures, in which the operative principle is: No matter how frequently or how far they fall, they will land without injury. They fall very frequently, and very far. The first drop lands them at the bottom of a deep cave, from which they cannot possibly climb, but they remain remarkably optimistic: "There must be a way out of here!" Sure enough, they find an abandoned mine shaft and climb aboard three cars of its miniature railway for a scene that will make you swear the filmmakers must have seen "Indiana Jones and the Temple of Doom." Just like in that movie, they hurtle down the tracks at breakneck speeds; they're in three cars, on three more or less parallel tracks, leading you to wonder why three parallel tracks were constructed at great expense and bother, but just when such questions are forming, they have to (1) leap a chasm, (2) jump from one car to another, and (3) crash. It's a funny thing about that little railway: After all these years, it still has lamps hanging over the rails, and the electricity is still on. The problem of lighting an unlit world is solved in the next cave they enter, which is inhabited by cute little birds that glow in the dark. One of them makes friends with Sean, and leads them on to the big attraction -- a world bounded by a great interior sea. This world must be a terrible place to inhabit; it has man-eating and man-strangling plants, its waters harbor giant-fanged fish and fearsome sea snakes that eat them, and on the further shore is a Tyrannosaurus rex. So do the characters despair? Would you despair, if you were trapped miles below the surface in a cave and being chased by its hungry inhabitants? Of course not. There isn't a moment in the movie when anyone seems frightened, not even during a fall straight down for thousands of feet, during which they link hands like sky-divers and carry on a conversation. Trevor gets the ball rolling: "We're still falling!" I mentioned 3-D glasses earlier in the review. Yes, the movie is available in 3-D in "selected theaters." Select those theaters to avoid. With a few exceptions (such as the authentic IMAX process), 3-D remains underwhelming to me -- a distraction, a disappointment and more often than not offering a dingy picture. I guess setting your story inside the Earth is one way to explain why it always seems to need more lighting. The movie is being shown in 2-D in most theaters, and that's how I wish I had seen it. Since there's that part of me with a certain weakness for movies like this, it's possible I would have liked it more. It would have looked brighter and clearer, and the photography wouldn't have been cluttered up with all the leaping and gnashing of teeth. Then I could have appreciated the work of the plucky actors, who do a lot of things right in this movie, of which the most heroic is keeping a straight face. 1
《肖申克的救赎》音乐鉴赏《肖申克的救赎》是一部不可多得的优秀励志型影片。影片故事情节：被诬谋杀自己的妻子及其情夫的银行家安迪被判终身监禁来到了肖申克监狱。他的与众不同引起了黑人囚犯瑞德的注意并最终结成了很好的朋友。安迪总是沉默寡言并尽可能地维护自己作为一个正常人应该保有的一切。一个偶然的机会，他开始用自己丰富的金融知识帮助狱卒们“合法”地逃税，甚至帮助典狱长洗钱，以此换得一些对囚犯、对自己稍微宽松的待遇。他甚至不厌其烦地给州政府写信，并在几年后得到了回应---州政府向肖申克捐赠了图书、唱机、甚至史无前例的监狱图书基金—每年500美金。然而安迪终于从一个新来的囚犯那儿得知了自己妻子被杀的真相，当他向典狱长提出申诉的要求时却遭到了粗暴的回绝。因为此时贪婪的典狱长已将安迪当作自己谋取暴利的摇钱树，他甚至不惜杀掉那个知情的囚犯从而将安迪永远地留在肖申克来满足自己对于金钱无止境的贪欲。安迪对于法律公正的幻想破灭之后，终于不动声色地走上了自我救赎的道路—在一个月黑风高、闪电交加的深夜，安迪成功地穿越了自己十九年来挖成的秘密通道，重新获得了自由。 接下来就谈谈这部经典影视作品里的音乐作品：一般的越狱题材的电影都充满了紧张或者急躁的情绪旋律，像电视剧《越狱》中间的音乐就是充满的紧张的气氛，比如主角斯科菲尔在第一季中：当他在监狱的洗脸池后面弄出了一个洞，每次进去进行后期越狱工作
室都会让狱友给他把风，狱警巡视的时候放的音乐就是属于那种紧 张的、急促的、节奏快的。由于监狱特定的人物特点和环境因素， 剧情会配合人物的心理变化，往往会显示出一种紧张感和压迫感， 或者更多的是不安感。但是《肖申克的救赎》完全相反，这部电影音乐环境是围绕着希望、情感、自有、生命的多个人生主题进行布 置，涉及到对自有的感触上，音乐就显得轻快祥和，给人一种轻松 的感觉；在涉及到生命消逝情节时，音乐是那种深沉悲壮的，给人 一种哀叹惋惜的感觉；在涉及希望的时候，音乐就渐渐地细腻、温情，给人一种舒适的感觉。 当安迪得知妻子背叛了自己，坐在车里喝酒，手里拿着枪犹豫着是否杀了妻子，虽然他内心很痛苦，但是他还是依然爱着妻子，无法下手，此时的背景音乐是四十年代的布鲁斯音乐《If I didn’t care》，是一种节奏感比较缓慢，比较低沉的音乐，音乐缓慢流放，给人一种压抑、低落的感觉，与此时的安迪内心的痛苦与挣扎相吻合。安迪和其他人在监狱外面劳动的时候，面朝太阳，感受着阳光的温暖，感知着外面世界的美好，此时的音乐是一种舒缓的，联想着镜头里的暖暖的太阳、安迪在外面的舒适可以感觉这是一种惬意的、舒畅淋漓的感觉，将大自然的阳光、世界的温暖与慢节奏的弦乐相结合堪称完美。安迪在广播室播放的音乐是莫扎特的音乐——《费加罗的婚礼》的片段：音乐中的女歌手的高音清澈，非常纯净、旋律悠扬空灵，此时的监狱里面，每个角落的凡人们都能听见，纷纷停下了手中的工作，陶醉在这首音乐作品里，每个人都似乎找到了那个久违了的东西——自
英语经典电影 《肖申克的救赎》赏析 姓名: 黄文威 学号：10203021 班级：10一体化1 院系：机电学院 2011年12月27日
在好莱坞的电影里一般对影片的商业性很看重，而能像《肖申克的救赎》这部影片，将电影的商业性和艺术性这样完美地结合起来的影片，不是很多。更难能可贵的是《肖申克的救赎》这部电影的艺术性要远远超过它自身的商业性，以至于十几年后的今天，这部电影仍然倍受人们喜爱，甚至被认为是“男人必看电影”之一。 本片朴实无华，一切在导演大智若愚般的调度下显得张弛有度，本来应该有些视觉镜头的地方却简单带过而不去刻意表达，而对人物的中近景特写的大量应用以及人物对白的精心设置使得电影衔接流畅，节奏平稳却又能抓住观众的内心，有些台词确实在不经意间就会敲打在你的心头。 它讲述的是被法庭误判杀妻罪名而终身监禁的银行家安迪，在“肖申克”这座监狱中受尽了非人待遇，最终花了20年的时间，挖穿监狱的墙壁，成功越狱的故事。 故事中安迪做出的几次惊人举动让我很受震动。安迪第一次做出惊人的举动在囚犯们外出劳动时，安迪争取了警卫队长的信任，通过自己的会计专长为大家赢得了两箱冰镇啤酒。囚犯们兴高采烈地喝着久违的啤酒，而安迪只是坐在一旁微笑着注视这一切。瑞德说，那一刻，“我们坐在春光下喝着啤酒，像自由人在修理自家的屋顶一样，我们是万物之主。”其实，安迪冒着生命危险想要赢取的决非这区区两箱啤酒，而是自己，还有其他囚犯的自由的感觉，哪怕只是一点点。 从这个细节我们不难看出，尽管自己身陷冤狱，尽管自由已经被剥夺殆尽，但是安迪却从未丧失信心，一直对未来充满希望， 安迪第二次做出惊人的举动是在播音室里，他通过高音喇叭向囚犯们播放了歌剧《费加罗的婚礼》，让整个肖申克监狱都为之震撼。华美的女高音带着空灵的自由在高墙内飞翔，那一张张曾经写满过罪恶的囚犯的面孔，还有平日里穷凶极恶的狱警们的面孔，都在这一刻变得虔诚高贵，听着这涤荡灵魂的天籁之音。 也许他们“听不懂意大利女士唱的是什么，也根本没想听懂，因为有些东西无需言语来表达。但是每一个人都相信，那是世界上最美好的事物，美得无法用语言描绘，美得让人心痛。歌声高亢悠扬，超越了囚犯们的梦想，就像一只美丽的小鸟飞进了高墙，使他们忘记了铁栏的束缚。此时此刻，肖申克里的所有人都感受到了自由”。 只要有希望，就有可能。安迪六年里，每周给州长写一封信，希望得到捐助扩建图书馆。开始人人都说不可能，但他最终建成了全美最大的监狱图书馆，让囚犯们享受着音乐的洗礼，接触到外界的知识。在辅导年轻囚犯考取高中文凭时，安迪将对方揉烂的试卷从废纸篓中拾起，寄出，最终使对方获得了文凭认证。 这也就是为什么别人看起来需要挖600年的牢墙，安迪只用20年就把它挖穿了；也就是为什么别人看起来不可思议的500码距离，安迪却忍着熏天的臭气爬行过去。当安迪站在瓢泼的雨中张开双臂，享受着向往已久的自由时，我们从这个自由者的身上，深刻地体会到了希望的力量！ 影片的结尾是这样的：湛蓝的天空下是蔚蓝的广阔的大海，沙滩边是一条小船，两个老朋友终于在阳光明媚的海滨相逢，彼此都很愉悦地相互微笑着…… 这样的结尾寓意却是非常深刻的。湛蓝的天空和蔚蓝广阔的大海象征着理想
小王子电影观后感英文版 本文为小王子电影观后感英文版范文，让我们通过以下的文章来了解。 Recently, I read a fairy story book, Little Prince. This book tells the adventurous experiences of little prince from his planet to the earth. Little prince comes from the outer space and he is hurt by a rose. So he leaves there and travels into space. He comes to the earth and be the friend of a fox. The fox tells his secret to little prince and he helps a pilot in the desert. In the end, he dies under the help of a snake and his soul goes back to his planet. This book is very interesting and teaches me a lot. I like little price adventures. He teaches me to be honest and love others. All of us should never loss the pureness of childhood. This is a fairytale whose distribution volume is only second to The Bible. It’s been translated to versions of many other languages. And I gather there must be something special, something really great about it. It’s this conviction that drove me to read it at the first beginning. Well, with due respect to the author, I failed to see how this fairytale be worthy
Seven(七宗罪)1995 David Fincher's classic tale of inventive serial killing and urban degredation, with Brad Pitt and Morgan Freeman on excellent form Who'd have thought? An absurd-sounding tale of a serial killer basing his crimes around the seven deadly sins, directed by the man behind the mess that was Alien3, turning out to be one of the most chilling and original thrillers of the 1990s. From the outset, through the film's brilliantly designed deliberate under-lighting - we see very little blood and guts - and muffled sound, the audience is encouraged to lean towards the screen, immerse itself in the film's unbearably grim world. Pitt is in career-making form as Mills, a simple cop moving with his sweet young wife (Paltrow) to a grim, anonymous city, determined to make a difference, to do some good. He is assigned to track down a vengeful killer, and works alongside Somerset (Freeman), a jaded, wise policeman on the verge of retirement. The two are that modern movie cliché -the mismatched pair thrown together by circumstance, who gradually learn mutual respect. But Fincher and Walker take these hackneyed ingredients, play with them in the context of a brilliantly cohesive plot, and present something consistently fresh - the police finding themselves with too much evidence, the premature unmasking of the killer - and very, very dark. 1
《肖申克的救赎》音乐鉴赏 《肖申克的救赎》是一部不可多得的优秀励志型影片。影片故事情节：被诬谋杀自己的妻子及其情夫的银行家安迪被判终身监禁来到了肖申克监狱。他的与众不同引起了黑人囚犯瑞德的注意并最终结成了很好的朋友。安迪总是沉默寡言并尽可能地维护自己作为一个正常人应该保有的一切。一个偶然的机会，他开始用自己丰富的金融知识帮助狱卒们合法”地逃税，甚至帮助典狱长洗钱，以此换得一些对囚犯、对 自己稍微宽松的待遇。他甚至不厌其烦地给州政府写信，并在几年后得到了回应---州政府向肖申克捐赠了图书、唱机、甚至史无前例的监狱图书基金一每年500美金。然而安迪终于从一个新来的囚犯那儿得知了自己妻子被杀的真相，当他向典狱长提出申诉的要求时却遭到了粗暴的回绝。因为此时贪婪的典狱长已将安迪当作自己谋取暴利的摇钱树，他甚至不惜杀掉那个知情的囚犯从而将安迪永远地留在肖申克来满足 自己对于金钱无止境的贪欲。安迪对于法律公正的幻想破灭之后，终于不动声色地走上了自我救赎的道路一在一个月黑风高、闪电交加的深夜，安迪成功地穿越了自己 十九年来挖成的秘密通道，重新获得了自由。 接下来就谈谈这部经典影视作品里的音乐作品：一般的越狱题材的电影都充满了紧张或者急躁的情绪旋律，像电视剧《越狱》中间的音乐就是充满的紧张的气氛，比如主角斯科菲尔在第一季中：当他在监狱的洗脸池后面弄出了一个洞，每次进去进行后期越狱工作室都会让狱友给他把风，狱警巡视的时候放的音乐就是属于那种紧张的、急促的、节奏快的。由于监狱特定的人物特点和环境因素，剧情会配合人物的心理变化，往往会显示出一种紧张感和压迫感，或者更多的是不安感。但是《肖申克的救赎》完全相反，这部电影音乐环境是围绕着希望、情感、自有、生命的多个人生主题进行布置，涉及到对自有的感触上，音乐就显得轻快祥和，给人一种轻松的感觉；在涉及
外国电影观后感英文版3篇电影罗马假日英语观后感 he story is about a young princess （公主）（Hepburn）named Ann，making a goodwill （善意的）tour of Europe's capitals。She is tired of the responsibility （职责）and demands of the role she has been born in to and longs to experience the every day pleasures of an ordinary person。In Rome she finally rebels。Waiting until after everyone in the embassy （大使馆）where her party is staying has gone to sleep，she slips out a window and finds herself alone on the streets of Rome。 She is found by Joe Bradley （Peck），a hardened （坚毅的）and somewhat cynical （愤世嫉俗的）reporter，on his way home from a late night card game。Not knowing who she is but seeing that she has no place to stay he takes pity on her and invites her to his apartment for the night。In a ical （滑稽的）scene，he offers her a pair of his pajamas （睡衣）and points to the couch where she can sleep。Innocent （天真的）aristocrat （贵族）that she is，she asks for a nightgown and help undressing。Bradley helps her take off her tie and then leaves the room。When he returns a few minutes later he discovers her sound asleep on the bed，leaving him the couch （沙发）。 Leaving her sleeping the next morning，Bradley shows up late for work and tries to cover himself by saying that he had an interview （采访）with the princess。But his editor shows him a newspaper with her picture and headline stating that she was taken ill the night before and canceled all appointments （安排）for the day。Bradley immediately realizes who he has in his apartment and gets the editor to agree to pay $5，000 if he can get a real interview with the princess。On the way out Bradley contacts a photographer （摄影师）friend，Irving Radovich （Albert）and arranges for him to met him later with his camera for a big scoop。 Returning to his apartment，Bradley picks up the princess for their planned tour of the city。Bradley's real aim is to get the pictures and story he promised （答应）his editor。
Tess(苔丝)1979 Thomas Hardy's Tess of the D'Urbervilles, which Roman Polanski has turned into a lovely, lyrical, unexpectedly delicate movie, might at first seem to be the wrong project for Mr. Polanski in every way. As a new biography of the director reports, when Tess was shown at the Cannes Film Festival, the press pointed nastily and repeatedly to the coincidence of Mr. Polanski's having made a film about a young girl's seduction by an older man, while he himself faced criminal charges for a similar offense. This would certainly seem to cast a pall over the project. So would the fact that Hardy's novel is so very deeply rooted in English landscapes, geographical and sociological, while Mr. Polanski was brought up in Poland. Finally, Tess of the D'Urbervilles is so quintessentially Victorian a story that a believable version might seem well out of any contemporary director's reach. But if an elegant, plausible, affecting Tess sounds like more than might have been expected of Mr. Polanski, let's just say he has achieved the impossible. In fact, in the process of adapting his style to suit such a sweeping and vivid novel, he has achieved something very unlike his other work. Without Mr. Polanski's name in the credits, this lush and scenic Tess could even be mistaken for the work of David Lean. In a preface to the later editions of Tess of the D'Urbervilles, Mr. Hardy described the work as "an impression, not an argument." Mr. Polanski has taken a similar approach, removing the sting from both the story's morality and its melodrama. Tess Durbeyfield, the hearty country lass whose downfall begins when her father learns he had noble forebears, is sent to charm her rich D'Urberville relations. She learns that they aren't D'Urbervilles after all; instead, they have used their new money to purchase an old name. Tess charms them anyhow, so much that Alec D'Urberville, her imposter cousin, seduces and impregnates her. The seduction, like many of the film's key scenes, is presented in a manner both earthy and discreet. In this case, the action is set in a forest, where a gentle mist arises from the ground and envelops Tess just around the time when she is enveloped by Alec. Alec, as played by Leigh Lawson, is a slightly wooden character, unlike Angel Clare, Tess's later and truer lover, played with supreme radiance by Peter Firth. Long after Tess has borne and buried her illegitimate child, she finds and falls in love with this spirited soul mate. But when she marries Angel Clare and is at last ready to reveal the secret of her past, the story begins hurtling toward its final tragedy. When Tess becomes a murderer, the film offers its one distinctly Polanski-like moment—but even that scene has its fidelity to the novel. A housemaid listening at a door hears a "drip, drip, drip" sound, according to Hardy. Mr. Polanski has simply interpreted this with a typically mischievous flourish. Of all the unlikely strong points of Tess, which opens today for a weeklong engagement at the Baronet and which will reopen next year, the unlikeliest is Nastassja Kinski, who plays the title role. Miss Kinski powerfully resembles the young Ingrid Bergman, and she is altogether ravishing. But she's an odd choice for Tess: not quite vigorous enough, and maybe even too beautiful. She's an actress who can lose her magnetism and mystery if she's given a great deal to do (that was the case in an earlier film called Stay As You Are). But here, Mr. Polanski makes perfect use of her. Instead of a driving force, she becomes an echo of the land and the society around her, more passive than Hardy's Tess but linked just as unmistakably with natural forces. Miss Kinski's Tess has no inner life to speak of. But Mr. Polanski makes her surroundings so expressive that her placidity and reserve work very beautifully. Even at its nearly three-hour running time, Mr. Polanski's Tess cannot hope for anything approaching the range of the novel. But the deletions have been made wisely, and though the story loses some of its resonance it maintains its momentum. There are episodes—like one involving Tess's shabby boots and Mercy Chant, the more respectable girl who expects to marry Angel—that don't make the sense they should, and the action is fragmented at times. That's a small price to pay for the movie's essential rightness, for its congruence with the mood and manner of the novel. Mr. Polanski had to go to Normandy and rebuild Stonehenge to stage his last scene, according to this same biography. As is the case throughout his Tess, the results were worth the trouble. 1