《美国丽人》英文角色分析

美国丽人影评
《美国丽人》是一部让人深思的电影，它不仅仅是一部关于美国社会的剖析，更是一部关于人性的探讨。

影片通过多条平行的故事线，展现了美国中产阶级家庭的种种问题和矛盾，同时也揭示了每个人内心深处的挣扎和渴望。

影片中的角色形象鲜活而多维，每个人物都有着自己的独特性格和故事。

莱斯特（Kevin Spacey饰）是一个在工作和家庭中都备受压抑的中年男子，他的内心渴望自由和真实的生活，最终选择了一种极端的解脱方式。

他的妻子卡罗琳（Annette Bening饰）则是一个外表坚强内心脆弱的女人，她在追求完美的过程中逐渐迷失了自己。

他们的女儿简（Thora Birch饰）和邻居的儿子瑞奇（Wes Bentley饰）则代表了两种不同的叛逆和追求自由的方式，他们的相遇和交流让人深思。

影片的导演萨姆·门德斯以其独特的镜头语言和叙事手法，将这些角色的内心世界以及他们之间的关系展现得淋漓尽致。

影片的画面充满了对美国中产阶级生活的讽刺和批判，同时也透露出对生活的渴望和对真实的追求。

影片的音乐也极具特色，配合着故事情节和人物心理的转变，让人在观影过程中更加投入。

《美国丽人》让我对生活和人性有了更深刻的思考。

它让我意识到每个人都有着自己的独特的内心世界和渴望，而这种渴望往往是被社会、家庭和自身的束缚所压抑的。

影片中的每个角色都在追求着自己的美国梦，而最终他们都以不同的方式面对了现实。

这种对生活和人性的思考让我深受触动，也让我更加珍惜当下的生活和内心的真实。

总的来说，这部电影不仅仅是一部关于美国社会的剧情片，更是一部关于人性的精神之旅，它让我在观影过程中产生了深深的共鸣。

AMERICAN BEAUTY
Presented by：Angus, David H., David K., Denis, Didier, Ginger, Yvette.
Nucleus Family and Suburban Life in America
• Suburbia in the United States: The Ideal Image of A Home: At the very beginning, also in the end of the film, we can see the neatly lined up houses. A perfect neighborhood, tranquil and peaceful ambience. Normality: On the surface every house is identical, the shape, the silhouette, the colour of the houses, the size of the gardens…etc. However, the interior varies so are the different families. They encounter different obstacles and share diffout, playing music out loud in the garage. - Buying the car he always dreamed of:
Carolyn Burnham: Uh, whose car is that out front? Lester Burnham: Mine. 1970 Pontiac Firebird. The car I've always wanted and now I have it. I rule! (Clip?)

1美国丽人 American Beauty"American Beauty" is a comedy because we laugh at the absurdity of the hero's problems.And a tragedy because we can identify with his failure--not the specific details, but the general outline.The movie is about a man who fears growing older, losing the hope of true love and not being respected by those who know him best. If you never experience those feelings, take out a classified ad. People want to take lessons from you.Lester Burnham, the hero of "American Beauty," is played by Kevin Spacey as a man who is unloved by his daughter, ignored by his wife and unnecessary at work. "I'll be dead in a year," he tells us in almost the first words of the movie. "In a way, I'm dead already." The movie is the story of his rebellion.We meet his wife, Carolyn (Annette Bening), so perfect her garden shears are coordinated with her footwear. We meet his daughter Jane (Thora Birch), who is saving up for breast implants even though augmentation is clearly unnecessary; perhaps her motivation is not to become more desirable to men, but to make them miserable about what they can't have."Both my wife and daughter think I'm this chronic loser," Lester complains. He is right. But they are not without their reasons. At an agonizing family dinner, Carolyn plays Mantovanian music that mocks every mouthful; the music is lush and reassuring, and the family is angry and silent. When Lester criticizes his daughter's attitude, she points out correctly that he has hardly spoken to her in months.Everything changes for Lester the night he is dragged along by his wife to see their daughter perform as a cheerleader. There on the floor, engrossed in a sub-Fosse pompon routine, he sees his angel: Angela (Mena Suvari), his daughter's high-school classmate. Is it wrong for a man in his 40s to lust after a teenage girl? Any honest man understands what a complicated question this is. Wrong morally, certainly, and legally. But as every woman knows, men are born with wiring that goes directly from their eyes to their genitals, bypassing the higher centers of thought. They can disapprove of their thoughts, but they cannot stop themselves from having them."American Beauty" is not about a Lolita relationship, anyway. It's about yearning after youth, respect, power and, of course, beauty. The momenta man stops dreaming is the moment he petrifies inside and starts writing snarfy letters disapproving of paragraphs like the one above. Lester's thoughts about Angela are impure, but not perverted; he wants to do what men are programmed to do, with the most beautiful woman he has ever seen.Angela is not Lester's highway to bliss, but she is at least a catalyst for his freedom. His thoughts, and the discontent they engender, blast him free from years of emotional paralysis, and soon he makes a cheerful announcement at the funereal dinner table: "I quit my job, told my boss to - - - - himself and blackmailed him for $60,000." Has he lost his mind? Not at all. The first thing he spends money on is perfectly reasonable: a bright red 1970 Pontiac Firebird.Carolyn and Jane are going through their own romantic troubles. Lester finds out Carolyn is cheating when he sees her with her lover in the drive-through lane of a fast-food restaurant (where he has a job he likes). Jane is being videotaped by Ricky (Wes Bentley), the boy next door, who has a strange light in his eyes. Ricky's dad (Chris Cooper) is a former Marine who tests him for drugs, taking a urine sample every six months; Ricky plays along to keep the peace until he can leave home.All of these emotional threads come together during one dark and stormy night, when there is a series of misunderstandings so bizarre they belong in a screwball comedy. And at the end, somehow, improbably, the film snatches victory from the jaws of defeat for Lester, its hero. Not the kind of victory you'd get in a feel-good movie, but the kind where you prove something important, if only to yourself."American Beauty" is not as dark or twisted as "Happiness," last year's attempt to shine a light under the rock of American society. It's more about sadness and loneliness than about cruelty or inhumanity. Nobody is really bad in this movie, just shaped by society in such a way they can't be themselves, or feel joy.The performances all walk the line between parody and simple realism; Thora Birch and Wes Bentley are the most grounded, talking in the tense, flat voices of kids who can't wait to escape their homes. Bening's character, a real estate agent who chants self-help mantras, confuses happiness with success--bad enough if you're successful, depressing if you're not.And Spacey, an actor who embodies intelligence in his eyes and voice, is the right choice for Lester Burnham. He does reckless and foolish things in this movie, but he doesn't deceive himself; he knows he's running wild--and chooses to, burning up the future years of an empty lifetimefor a few flashes of freedom. He may have lost everything by the end of the film, but he's no longer a loser.2美国丽人 American BeautyIt’s a tricky business to leave American Beauty feeling all right, but the film works very hard to make that possible, despite its dismal representation of suburban living.Scripted by first-time screenwriter Alan Ball (who used to write for Cybill and off-Broadway) and directed by British theater veteran Sam Mendes (Cabaret, The Blue Room), the film features Thora Birch, once Harrison Ford’s school-uniformed daughter in the Tom Clancy movies, now a really pissed-off teen named Jane, living in the generic ’burbs with her hateful and self-hating parents, Lester (Kevin Spacey) and Carolyn (Annette Bening). The poor kid doesn’t have a chance. She’s a morose cheerleader with pale skin and red-red lipstick, as well as a blond, burstingly beautiful best friend, Angela (Mena Suvari, the golden girl of American Pie), also on the squad, who absorbs all attention whenever they’re in the same space.Birch is absolutely brilliant. Her sophisticated performance of Jane’s despair and aspirations — to be like Angela, to be loved by her father or someone resembling him, to be anywhere but where she is, in a room where her mother is melting down before her eyes — save American Beauty from comic, surreal overkill. She anchors the film’s easy-target hysterics in a character whose face — more than any dialogue or situation —registers the dark nuances of adolescent fear, disgust and longing.However, most critical attention has been centered on the movie’s insights into Lester’s horrific existence. This is understand able, as he is the narrator. Right off the bat he tells us, "This is my life. In less than a year, I’ll be dead. Of course, I don’t know that yet. In a way I’m dead already." The language is brutal and lyrical. The scene beneath the voiceover is alarmingly sterile but extremely familiar: an overhead shot of a suburban neighborhood, all the houses alike, all the streets going nowhere. In an instant, he’s sympathetic, the heart of the film. You anticipate and dread his death, and wonder who will be responsible.You’re led to believe that it’s Jane, indirectly or otherwise. The very first shot in the film is her face, on video, pouting. She’s talking to whoever holds the camera, whom we learn later is her boyfriend, a strange, desperate and abused new neighbor named Ricky (Wes Bentley). He affords his elaborate entertainment system by selling pot (to her dad) but he spends most of his time videotaping everyone, in particular Jane at all hours, from any position he can manage, as she crosses her lawn, gossipsin the schoolyard, passes by her bedroom window. In this first scene, she talks about how unhappy she is, and how much she dislikes Lester. "I need a father who’s a role model," she says. "Someone should put him out of his misery." Off camera, Ricky offers to kill him for her.This offer is certainly foreboding, especially since it’s followed by Lester’s announcement of his imminent demise. As the action proceeds, Jane is revealed as being typically teenagerish in her wrath: that is, not convinced that what she thinks she wants is really what she wants. (Angela says that the worst thing is to be "ordinary," and Jane believes her for most of the film, also accepting Angela’s plainly unfounded judgment that she —Jane —is ordinary.) She’s also passive and fearfu l, despite her desperation, characteristics she’s absorbed from Lester and Carolyn (who sells real estate badly and has an affair with the local "real estate king," played by Peter Gallagher). But Ricky, he’s another story: a ticking time bomb, embodying the stereotype that suburban white boys are fast becoming in today’s mass-media eye. His backstory includes a pathologically passive mom (Allison Janney) and a menacing dad, Marine Colonel Frank Fitts (Chris Cooper, devastating in a truly troubling role).F itts’ salient traits are ruthlessness, rigidity and homophobia —the ’90s insta-signs of imminent suburban-guy breakdown — which definitively set him apart from Lester, who genuinely likes his gay neighbors and who becomes remarkably flexible once he loses his advertising job and falls in love with Angela. This latter development comes to resembles Lolita, in that Angela relishes her role as jailbait, misunderstanding it as a means to self-worth (a typical girl’s mistake, hardly pathological in her given en vironment). Lester’s redemption takes up the movie’s length and emotional focus, but he leaves walking disasters in his wake: most obviously, his undone wife andguilt-traumatized child.By the time these results become clear to you, the film will be over. It ends, as it promises in its opening frames, with Lester’s death. The face that will haunt you is Jane’s, as it haunts her father, her boyfriend and her mother. Mopey and dreamy, implacable and lovely, Jane, like Lissa in Best Laid Plans, wants more than she can imagine. If only the movies around them were so ambitious.American Beauty 美国丽人英语影评And there were a lot of great ones this year. I will also say something even (possibly) bolder--that Kevin Spacey gives the performance of his career. And all us movie geeks know that is saying a LOT, given this man's past roles, and his talent. I used to think he was overrated as an actor. Then I figured OK, I see what all the fuss is about. Now, he's up there with my favorite actors of all time, with James Woods, Steve Buscemi, Robert Deniro...probably in the top 5.I was lucky enough to see a free screening this afternoon and boy, am I glad I had the privilege. In fact, this review might not even be that coherent- it's one of those movies that blows you away so much that you have trouble even putting your feelings into words.The plotline sounds trite when you first describe it (it did to me when I first heard about it), Spacey plays a man who describes himself as a loser, with Annette Bening as his horrible, shrewish, self-absorbed, pathetic b*tch of a wife. His daughter is not all that likeable either, despite the fact that you can understand why she turned out this way, with her as a mother. Just when you think you've met the most dysfunctional family in the world outside of "Happiness", you find out about the family who just moved in next door. At first, the strange son seems like the most messed-up member of their brood, but after you get to meet his ex-military, abusive, homophobic, terrifying father and his withdrawn, sad, headcase mother, you realize he is the most normal member of the household by far. Then, the filmwriters toss in Kevin Spacey's lustful obsession with his daughter's sexkitten cheerleader friend, which trust me, is a lot more fun, entertaining, and amusing than it sounds when you read about it. Soon, he is having the most entertaining, amusing midlife crisis ever seen in the history of cinema. He just doesn't give a ***k about what he does or says anymore, and you only wish you could get away with doing the things he does.I found myself laughing out loud in this movie so many times, most of it horrified, amazed laughter at what is happening and the things that are coming out of the character's mouths, especially Spacey's. He had at least a dozen lines that had every member of the audience in hysterics and actual applause and cheers.I can't say enough good things about this movie. You think, after the first five minutes, that you know how the movie will end. Well, Spacey's opening narrative does give it away, but trust me, the events unfold in a way that you will NEVER see coming. You will swear you can see what a character is going to do next, what violent or self-destructice act they will commit, but you turn out to be wrong.Without getting too pretentious here, the movie lives up to it's theme/tagline of "...look closer". THe characters are not what they seem, up until the end, and even then they surprise you. At least two characters that you are POSITIVE you have figured out, do or say something that turns all your preconceptions of them upside down, while making your jaw drop, and your heart ache. You will leave the movie with a smile, though, and that is maybe what I expected least of all.影评作业"American Beauty" is a comedy because we laugh at the absurdity of the hero's problems. And a tragedy because we can identify with hisfailure--not the specific details, but the general outline.The movie is about a man who fears growing older, losing the hope of true love and not being respected by those who know him best.Lester Burnham, the hero of "American Beauty," who is unloved by his daughter, ignored by his wife and unnecessary at work. "I'll be dead in a year," he tells us in almost the first words of the movie. "In a way, I'm dead already." The movie is the story of his rebellion.We meet his wife, Carolyn , so perfect her garden shears are coordinated with her footwear. We meet his daughter Jane , who is saving up for breast implants even though augmentation is clearly unnecessary; perhaps her motivation is not to become more desirable to men, but to make them miserable about what they can't have.American Beauty" is not about a Lolita relationship, anyway. It's about yearning after youth, respect, power and, of course, beauty. The moment a man stops dreaming is the moment he petrifies inside and starts writing snarfy letters disapproving of paragraphs like the one above. Lester's thoughts about Angela are impure, but not perverted; he wants to do what men are programmed to do, with the most beautiful woman he has ever seen.All of these emotional threads come together during one dark and stormy night, when there is a series of misunderstandings so bizarre they belong in a screwball comedy. And at the end, somehow, improbably, the film snatches victory from the jaws of defeat for Lester, its hero. Not the kind of victory you'd get in a feel-good movie, but the kind where you prove something important, if only to yourself."American Beauty" is not as dark or twisted as "Happiness," last year's attempt to shine a light under the rock of American society. It's more about sadness and loneliness than about cruelty or inhumanity. Nobody is really bad in this movie, just shaped by society in such a way they can't be themselves, or feel joy.He does reckless and foolish things in this movie, but he doesn't deceive himself; he knows he's running wild--and chooses to, burning up the future years of an empty lifetime for a few flashes of freedom. He may have lost everything by the end of the film, but he's no longer a loser.。

美国丽人 (American Beauty)
《美国丽人》是一部令人深思的电影，它以其深刻的人物刻画和引人入胜的故
事情节而闻名。

影片讲述了一个普通家庭的故事，却揭示了其中的复杂和矛盾。

导演萨姆·门德斯通过对家庭、社会和人性的观察，呈现了一个充满现代社会压
力和矛盾的世界。

影片的主题之一是对美国梦的探讨。

主人公莱斯特·伯恩厌倦了日复一日的平庸
生活，他渴望自由和幸福，却发现自己陷入了更加深重的困境。

这种对现实生
活的不满和追求更高境界的愿望，让观众们对自己的生活产生了深刻的反思。

影片还深刻地描绘了家庭关系和人际关系的复杂性。

莱斯特和他的妻子卡罗琳
之间的关系紧张而脆弱，他们的女儿简也面临着青春期的挑战。

而邻居家的少
女安吉拉则代表了年轻一代对美好未来的追求。

这些角色之间的纠葛和矛盾，
让观众们对人际关系和家庭生活产生了深刻的共鸣。

影片的摄影和音乐也是其成功的关键因素。

影片中的镜头语言和画面构图都展
现了导演对细节的把握和对情感的表达。

配乐更是为影片增添了许多情感色彩，让观众们更加深入地感受到了影片中角色的内心世界。

总的来说，《美国丽人》是一部令人难忘的电影，它通过对现实生活的观察和对人性的探索，给观众们带来了深刻的共鸣。

这部电影不仅仅是一部娱乐作品，
更是一部引人深思的艺术之作。

《美国丽人》------遗失的美好故事的人物很平凡，一个普通的美国中产阶级家庭，丈夫伯哈姆、妻子卡罗琳、未成年的女儿珍妮。

像所有的美国中产阶级家庭一样，他们有宽敞的房子，有车，男主人温文尔雅、女主人端庄，女儿漂亮。

在常人眼里，他们幸福、快乐。

当然，那只是常人眼里。

事实上，伯哈姆和卡罗琳已经很久没有激情再相互抱一抱，珍妮和她的父母除了日常的交谈，仿佛都没有任何说话的欲望。

伯哈姆烦透了他所从事的工作，在痛骂了一番部门主管后，辞去了他在一家广告公司的工作，转而到一家快餐店卖汉堡。

妻子的嘲笑、女儿的冷落让他烦透了这种平庸无味的生活。

终于有一天，当伯哈姆遇上了女儿的同学安吉拉时，他立刻被安吉拉的美丽深深地打动，心中的那种久已死去的感觉好像又重新的复燃了…… 就在他为了能够使安吉拉喜欢而疯狂锻炼身体时，卡罗琳和一位地产大亨有了外遇，而他们苦闷的女儿珍妮则在邻家一个被父亲管教甚严的孤僻男孩身上寻求些许心灵的安顿。

故事的结局有些感伤：地产王子和卡罗琳分手了，理由很简单，“成功的事业必须有成功的家庭。

”至少表面上应该这样，他拒绝和他的妻子离婚。

珍妮和那个男孩离开了家。

而随着“怦”的一声，伯哈姆自杀了。

记得死之前，安吉拉曾经问过他一句话：“你快乐吗？”听了这句话，伯哈姆笑了，过去的一暮暮清晰的在他眼前闪现。

快乐的童年，幸福的恋爱时光、惬意的蜜月、可爱的小天使的出生……过去的一切似乎真的很快乐。

那么，从什么时候，快乐不见了呢？电影放完了，心中却有些沉重。

也许故事的结局悲惨了一些，但是我们这生活在地球上的芸芸众生又有几个是真正的快乐呢？有多少对所谓相敬如宾的夫妻早已在琐碎的生活中失去了当初的激情？也许并不是很多吧。

我很庆幸，自己生活在一个融洽而民主的家庭，我们三个人都彼此深深相爱着。

可是，我总觉得，随着年龄的增长，我好象不太容易快乐了。

不知从哪一天起，我不可以像儿时想说什么就说什么，我开始学会察言观色，我开始提防着周围的一些对我不够友好的人。

The Conflict of American beautyThe movie is titled with American beauty, which is a kind of American flower whose anthesis is short. As is shown in the movie, beautiful things will never last for a long time. Even the death symbolizing beauty in Ricky’s eyes won’t remain permanently. People’s pursuit of beauty has never been stopped. Thus, conflict emerges.In the pursuit of beauty, someone indulges themselves in illusion, while others choose to face the truth and awaken himself from dull boring life. This is strongly highlighted between Lester and Carolyn. Lester, a man at the age of forties, underwent the midlife crisis, only to get comfort to jerk off in the toilet. When he saw his daughter’s friend—Angela, he found the beauty of his life. What he was going to do revealed his determination to face the truth of dull life and awakening himself. Lester quitted his job and started to work out. The moment he was going to have sex with Angela and knew that Angela was virgin, he realized the most beautiful moment was to spend time with the people you really love, which was evidently shown in the scene he died.Carolyn, a working-mother control freak,whose pruning shears perfectly match her gardening clogs and whose personality proves as phony as her faithfulness, indulged herself in delusive phantom—the seemingly harmonious family, expensive-decorated house. Actually, she betrayed her husband and family to engage an affair with her real estate idol, and the expensive-decorated house came with mortgage. On the way of chasing the phony beauty, what she missed was the love from husband and daughter, and her own soul.Besides, in the pursuit of beauty, someone chooses to hold back, while someone choose not to hide, which is evidently shown between Ricky and Frank Fitts. Ricky, a drug, had never hidden his reverence and love for death. In his opinion, the death is the same as the second of god’s staring, from which people could see the beauty. The passage of life is amazing. The video tape of the plastic bag floating in the air and his witnessing of the homeless woman frozen to death showed his respect and appreciation to life and death plainly and frankly. As he said in the movie, “there was this entire life behind things and this incredibly benevolent force that wanted me to know that there was no reason to be afraid ever… sometimes there is so much beauty in the world, that I feel like I can’t take it, and my heart is just going to cave in”.Nevertheless, Frank Fitts, an US Marine Corps, who had his entire life complied withprinciples and routine and held the hatred of gays, was actually a homosexual. How ironic it was. He chose to hold back his inner desire of facing his sex-orientation bravely, which resulted in his wife’s mental illness and his son’s rebellion. His cowardice restrained his pursuit of life beauty. When he nerved himself to Lester, only to find that he met the wrong man. What he could do was to end Lester’s life, and continued to keep his principle and routines.Thus, the right attitude to beauty is to try to relax, and don’t hold on to it. And then all the beauty will flow through you like rain to make you feel gratitude to life.对死亡充满敬畏。

美国丽人 American Beauty 英文影评Nothing beats death for establishing a detached, omniscient point of view, and from the very beginning of Sam Mendes's haunting and accomplished debut feature (and one of the year's first significant films), it's made clear that its hero, middle-aged, middle-class lost soul Lester Burnham (Kevin Spacey) is a goner. Lester's flashback voiceover narration has the sardonic serenity of the beyond, an anarchistic wisdom as he observes himself jerking off in the shower ("This will be the highlight of my day), spies on wife Carolyn (a strident and fragile Annette Bening) tending the title roses ("See how her clogs match the handles of her pruning shears? It's not a coincidence."), or looks in on sullen and unhappy daughter Jane (Thora Birch, with soulful, accusing eyes) surfing the Internet for breast augmentation sites ("I'd tell her things get better, but I don't want to lie"). His secret? "In less than a year, I'll be dead. . . . But in a sense, I'm dead already."Who actually kills Lester is a mystery. Is it Jane, who's shown on video saying her dad is a "lame-o" who should be put out of his misery? Carolyn, who takes out her frustrations at the shooting range? Colonel Fitts (Chris Cooper), the new neighbor with the militant right-wing views and the extensive firearms collection? In the end, it makes no difference.As for Lester's spiritual death, it's one of the most common themes in American literature and film, and Mendes and first-time writer Alan Ball deserve credit for bringing this hollow man to life. Mostly, though, it's Spacey's movie, as his impeccable timing, coy superciliousness and rueful knowingness provide the tone and tension that illuminate it. Like the gimpy loser he played in The Usual Suspect, his Lester starts out unimpressively, embarrassing himself in front of his wife and daughter both in social settings and at the dinner table. But Spacey's diabolical smile suggests that his days as suburban doormat adrift in a '90s updating of John Cheever's white-collar wasteland (the film is reminiscent of that writer's "The Country Husband") will not be for long.His rebirth begins at a high-school basketball game where he and Carolyn, in a misconceived attempt to be better parents, watch Jane run through a new dance routine with the cheerleading squad. His patient gaze changes to ardor as the camera singles out the nubile features of Angela (vivid newcomer Mena Suvari), whose insinuating smile seems meant just for him. Mendes, however, overplays the moment: a spotlight shines on Angela, everyone else in the gym disappears, and she opens her blouse to unleash a cascade of rose petals, the hallmark of Lester's fantasy sequences, and one of the film's less compelling metaphors for beauty.Mendes is more restrained in Lester's second epiphany, when at a shindig for Carolyn's real-estate job he slips out back with Ricky Fitts (Wes Bentley, like a laconic Christian Slater with spooky presence), the colonel's son, who's catering the affair. Tiny figures framed by a blank wall and the asphalt of a parking lot, the two get loopy and hilarious on the dope that is the real source of Ricky's income. "I think you're become my new personal hero," says Lester when Ricky quits and tells his intruding boss to get lost.In effect Ricky becomes the film's hero, too, since he embodies the youth, idealism, and poetry that Lester abandoned along with his dream of owning a 1970 Firebird. Ricky also embodies much of the visual sense that distinguishes the style of this director (who's known for his striking stage productions of Cabaret and The Blue Room). Oppressed by his fascist dad (one of the film's few stereotypes that fails to transcend itself), Ricky buys video equipment with his dope money and shoots random moments of morbid beauty, such as a dead bird, a whirling plastic bag in a leaf-littered alley, and Lester's bruised-petal daughter. It's the beginning of a courtship between Ricky and Jane, and the interplay of self-conscious imagery, voyeurism, and desire recalls Steven Soderbergh's sex, lies and videotape and Krzysztof Kieslowski's A Short Film About Love.Lester, meanwhile, pumps iron while stoned to get buff for Angela, extorts a year's severance pay from his soul-destroying job, and is mostly amused when his wife has an affair with Buddy Kane (a graying Peter Gallagher, looking like a monstrous fusion of George Hamilton and Michael Dukakis), the real-estate king. The details of the dead man's ultimate fate are a bit of a letdown, but as he posthumously notes, it's hard to stay mad when there's so much beauty in the world, and in that regard, this near-masterpiece is true to its title.。

黄碧莹内容摘要：《美国丽人》（American Beauty）是2000年度第27届奥斯卡最佳影片，影片以两个典型的美国中产阶级家庭为叙述对象，表现在平淡无奇的日常生活中隐藏着的巨大的精神危机。

赖斯特机械式地重复着毫无激情的生活；卡洛琳受奴役于物质和金钱利益；费兹对权力盲目崇拜。

他们以各自不同的方式做着相同的事情——逃避自由。

影片反映了现代人的精神危机：每个人表面上是自由的，实际上并没有获得真正的自由；表面上在追求自由，实际上在逃避自由。

关键词：《美国丽人》《逃避自由》弗罗姆自由《美国丽人》（American Beauty）是2000年度第27届奥斯卡最佳影片，并且囊括最佳导演、最佳原创剧本、最佳摄影、最佳男主角四项奖项，取得了巨大成功。

影片以两个典型的美国中产阶级家庭为叙述对象，表现在平淡无奇的日常生活中隐藏着的巨大的精神危机，这样的精神危机普遍存在于现代人之中。

本文将结合埃里希·弗罗姆的《逃避自由》一书中的相关观点,通过对影片中人物形象的分析，试图揭示现代人面临的自由困境以及在这一困境中人的挣扎与消亡。

一影片从赖斯特的自白展开，讲述他临死前一年内发生的事情。

赖斯特是广告公司的一名普通职员，每天做着自己不喜欢的工作，还要忍受上司的各种不合理的要求。

在生活中，表面上看有一个和睦幸福的家庭，但一切都是美好的粉饰。

她的妻子卡洛琳，是一名房产推销员，为了推销房子近乎走火入魔。

两人从多年前开始就貌合神离、同床异梦。

而他们的女儿珍妮，因为日渐失去父母的关心，倍感孤独。

整个家其实已经完全破裂。

另一个家庭，赖斯特的邻居，同样有一个怪异的家。

大家长费兹中校，性格乖僻，每一次自我介绍时都强调自己是“海军陆战队法兰克费兹中校”，崇尚纪律和规矩，极其痛恨同性恋。

他的妻子在家庭中没有一丝地位，整日坐在客厅里发呆，眼神呆滞、反应迟钝。

儿子瑞奇表面非常顺从，私底下则从事大麻交易。

弗罗姆认为，几个世纪以来，人们挣脱了枷锁、摆脱了原始的束缚，在政治、经济以及宗教信仰上获得了自由。

《American Beauty》赏析《American Beauty》得到了奥斯卡很多奖项的提名。

片名《American Beauty》实际上是玫瑰家族的一种，导演用这种玫瑰象征生命中的完美，beauty在这里，泛指一切美好的东西。

莱斯特对安吉拉的性幻想永远在铺天盖地的玫瑰花瓣中展开，其久旱逢甘露一般的铺张想象充分喻示了他的生命中是如何的缺少美。

还有他的妻子卡洛琳，也要通过料理花园弥补与家庭的缝隙，从中找寻填充自己的意义和美。

在一个越来越商业化的时代，在我们日益脱离理性的时候，看一部这样的电影，可以愉悦感官，同时又将我们推入到思考之中。

毕竟，“思想的头脑是世界上最美的花朵”（恩格斯语），虽然这样的美，在我们看来显得比较郑重。

《American Beauty》带领我们感受这黑暗的方方面面，和同时有些搞笑、更令人痛苦、烦扰和悲伤的结局。

一个观赏者也许不会全盘同意影片所努力揭示的生活现实，但应该知晓影片的用心：这是一部试图教会人们如何从岁月辙痕中完成自我拯救的黑色喜剧。

在这个意义上，《American Beauty》可以算作这个令人惊异的20世纪90年代末，乃至20世纪末、千年末的一个适时的惊叹号。

在表面层次上，《American Beauty》是一幅并不美丽的美国风情画。

它是一部由奥斯卡最佳原创剧本奖得主艾伦·鲍尔创作和奥斯卡最佳导演奖得主萨姆·曼德斯执导的演艺精良、构思巧妙的讽刺电影。

电影摄制者无情地打碎了获得广泛认同的“美国梦”的假想，鞭挞了现代美国生活的许多侧面——为物质占有欲所笼罩的郊区生活，急切地渴望披上成功外衣的愚蠢，把身体塑造成清白的机器的自我陶醉，对诱人的金发碧眼女郎的荒诞的幻想，基于炫耀道德而对同性恋的恐惧和憎恶，和不顾一切的对出众和另类的渴求。

这些侧面的内部包含的很多社会问题都是欧美发达资本主义国家普遍存在的症结，诸如拜金主义造成的精神压力、生活的单调乏味、个人的挫败感、性、毒品、暴力等等。

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莱斯特有一个失败的家庭，在妻子和女儿眼 里他是一个不折不扣的失败者。他长期没有 性生活，每天的最高潮就是在淋浴的时候手 淫。女儿恨他，工作又不顺心，几乎周围所 有的人都不关心他的存在。"没关系"，他说， "连我自己都不会记得自己的存在。"直到有 一天他和妻子卡洛琳去女儿的学校体育馆看 她的拉拉队演出，安吉拉异常耀眼的出现使 他瞬间看到无数朵美丽的玫瑰花在她胸前绽 放。似乎是有生以来第一次，莱斯特一下子 被欲望击中了。从此以后，他迈出了精神重 生的第一步
美国丽人人物形象及内容 赏析演示文稿
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（优选）美国丽人人物形 象及内容赏析.
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他年近中年，工作显得并不是很顺畅，而此时他的妻子却和他吵着房子和车子的价ቤተ መጻሕፍቲ ባይዱ， 使得他很不顺畅。就在这个时候，他们两口子去看了女儿的表演。可是在看表演中， 女儿的一个同学竟让他浮想联翩，后来他也因为这同学好象看透了什么似的。他改变 了以后的生活方式，首先他把原来的老板给炒了，并在辞职书上狠狠地骂了老板一通。 而后他在街头找了个自己认为很快乐的工作，而他的这份工作别人怎么也不理解，在 后来他自慰、吸毒、偷偷地约会女儿的同学，反正干了很多常人无法理解的事情。最 后他死在了里奇Ricky父亲的枪下。对于这个人，我的理解是将他们放入有关人的“异 化的环境来解读的。在很早以前马克思就曾对“异化”进行过阐述，可惜国内的马克 思著作很少真正对这一理论进行了介绍，对异化进行的介绍起了很大贡献的著作要算，
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影片似乎说明，美就是自由，就是打破禁锢 的思想，就是无拘无束的灵魂。然而莱斯特 最终还是被一枪打死了，尽管他刚刚逃离丑 陋的世界，刚刚体会到生命的美。看来，真 正的"美国丽人"，是可望而不可及的。我们 只能在梦中幻想自己醒来。

# # #学院课程论文题目：从电影《美国丽人》看隐藏在美国社会肌肤内的种种“癌症”课程名称英语影视赏析考查学期2014/2015 学年第一学期考查方式课程论文姓名学号专业成绩指导教师从电影《美国丽人》看隐藏在美国社会肌肤内的种种“癌症”摘要：《美国丽人》这部影片的色调虽然不是黑白的，但却是晦涩的。

“世界如此之美，应该平静地去欣赏”，主人公莱斯特•伯纳姆死前的最后一席话启发到，人们要用崭新视角去看待周围的世界。

如此颇具哲理的结局既让观众对莱斯特-伯纳姆的离开充满悲伤，对人生意义价值产生新的思考。

物质带来便利，同时也带来太多负担，又有多少人，可以真的放下。

请宽容，让自己幸福，不能带给别人幸福至少不要带去伤害。

《美国丽人》是一部体现美国家庭伦理生活矛盾的黑色喜剧，影片线索繁多但却脉络清晰，充分显示了导演山姆-门德斯的深厚功力。

同时凯文-斯贝西的出色表演也是影片成功的保证。

关键词：晦涩；崭新；物质；伦理；黑色喜剧一、电影种类英语影视赏析这门课程对我们大学生来说，可以激发我们学习英语的兴趣，也可以让我们更加了解西方的文化。

通过我们所选修的英语影视鉴赏课程可以知道，英语电影可以分为：喜剧片、励志片、幽默片、爱情片、强档片、科幻片、剧情片、黑色片、战争片、动作片、惊悚片、恐怖片等等。

每种类型的影片，它所表达的东西和要呈现给观众的东西是不一样的。

二、电影简介《美国丽人》是一部美国剧情电影。

它以一个典型的美国中产阶级家庭为例，展示了隐藏在美国社会肌肤内的种种“癌症”。

这部影片从刚开始就预告了主角的生死：莱斯特•伯哈姆已经活不到一年了，而现在似乎还看不出什么迹象……，一直响着的背景音乐也是时而晦涩时而低沉的。

男主莱斯特在服务了14年的公司里面临着随时被炒鱿鱼的危险，在拜金霸道的妻子面前也是无能懦弱的形象，在女儿面前更是不能作为模范榜样，似乎在谁的面前都是失败者。

直至，遇到女儿的同学安吉拉之后，他重燃了对生活的希望。

论电影《美国丽人》中的种种困顿状态作者：杨姝来源：《北方文学》2019年第21期摘要：电影《美国丽人》向观众展示了当今美国市郊中产阶级家庭中出现的种种困顿问题，如：家庭关系的困顿、教育子女的困顿以及观念的困顿等。

关键词：美国丽人;市郊;中产阶级;困顿一、电影简介电影《美国丽人》英国话剧导演山姆.门德斯进军影坛的第一部作品，在1999年引起了巨大轰动，在第 72届奥斯卡金像奖颁奖仪式上，它获得最佳影片、最佳导演（山姆.门德斯）、最佳男主角（凯文.斯贝西）、最佳原创剧本（阿兰.鲍尔）和最佳摄影五项奥斯卡奖。

该电影常常被人看作是经历中年危机的男性困惑坎坷的典型经历，或者是对美国市郊麻木不仁的感情生活的一记重击。

电影的一个引人之处在于，它讨论了在后女权主义和后工业社会中一系列有关男性特征的富有争议性的当代问题。

影片中的莱斯特是一个代表普通人的角色——既是英雄，又是懦夫——他懵懵懂懂地卷入了和周围人的冲突，这些人对他刚刚发现的自由深恶痛绝。

二、故事梗概《美国丽人》是一个美国中年男子莱斯特的故事。

他和家人生活在美国的市郊，过着看似平静的生活。

一天晚上，在妻子卡洛琳的强制之下去看了女儿简的表演，却对简最好的朋友安吉拉着了迷。

安吉拉的美貌唤醒了莱斯特内心潜在的活力，在邻居儿子瑞奇的帮助下，他重新找到了青春的愉悦。

莱斯特辞掉了无聊的办公室工作，吸食大麻，并对妻子的不忠视而不见。

为了追求安吉拉，他开始健身、和一对同性恋邻居一起跑步。

而邻居菲茨上校误解了莱斯特和自己儿子瑞奇的关系，误以为莱斯特和瑞奇有性行为。

一个下雨的夜晚，上校无法抵制诱惑，在车库找到莱斯特并向他求欢，莱斯特十分惊讶并拒绝了上校。

不久之后，上校因无法忍受暴露了自己是同性恋的事实而用枪击穿了莱斯特的脑袋。

在临死的时候，莱斯特终于明白了自己一直在寻找的幸福，重新回顾了他一生中最美好的时刻。

三、角色分析《美国丽人》是一种社会问题片，这种片子中，总会出现主要角色与反面角色。

浅析《美国丽人》中男性的形象无论何时，人总是推动社会前进的主要力量。

王朝的更替，世界的变革，任何一项科学技术的发明和创造都离不开人。

在这其中，男性又是主导社会的绝对力量，由此男性在这个今天看起来男女平等的社会中仍然占有举足轻重的地位。

《美国丽人》这部反映美国中产阶级中年危机的电影，一经面世便受到了大家的欢迎，原因是多种多样的，但是其中有一个重要的因素便在于观众，尤其是美国男性观众在片子中看见了自己的影子。

所谓“观其言，映自身”便是这个道理，下面我们便从片中的三个主要男性身上进行分析。

一.莱斯特•伯纳姆形象分析：影片从莱斯特•伯纳姆性生活死亡开始叙述，性生活的标志不是能力的丧失因为他每天都在淋浴时候自渎，而是他的生活了无生趣的浓缩，同样了无生趣的生活还有每天上班，每天吃饭的时候听妻子放的电梯音乐，每天看见妻子装模作样的和邻居打招呼。

一味单调的生活本身不可能形成他死亡的原因，虽然厌烦但是还是可以忍受。

促成莱斯特.伯纳姆走向死亡的外在第一因素就是女儿的同学安琪拉，莱斯特•伯纳姆心里变化是因为她的出现而改变，比如他去健身是为了和安琪拉上床，最初的冲动是安琪拉唤醒了莱斯特•伯纳姆的性欲，他开始躺在床上幻象着安琪拉自渎，性欲的复苏和年轻时候性欲的萌芽竟然一模一样，在这个层面上讲安琪拉领着莱斯特回到了青年时代；促使莱斯特心里变化的第二个原因是里克，如果说性欲的恢复还只是处于幻象和本能，那么里克的出现则意味着心智的复苏，莱斯特的工作枯燥无味，上级虚情假意，里克的大麻和对待工作的态度，都让他感到自己的老去，这种意识的觉醒如果仅仅停留在意识层面，那么无非是和性的复苏一个意思，导演的意图在莱斯特•伯纳姆炒掉老板的那场戏中，说得明明白白：他不仅是一个被束缚者，也是一个突破者。

在这两重觉醒下，莱斯特.伯纳姆实际上比他周围的所有人都要活得有意义，他干自己喜欢的事，追自己喜欢的女孩，作运动听音乐，买自己喜欢的红色跑车，理想的人生不就是这样一个状态么？所以我们可以看到，“生存还是死亡”，连主角自己都不知道。

Find beauty in the death作者：陈佩娴来源：《速读·下旬》2016年第04期摘要：作为荣获第72届奥斯卡五个奖项的影片，《美国丽人》（AmericanBeauty）用喜剧与悲剧临界的方式狠狠打破美国精神甚至是我们眼中美的概念，揭露了二十世纪末美国社会肌肤内的种种“隐疾”，塑造了一群在美国社会主流价值观下苦苦压抑与寻求突破的人物形象。

作为一部家庭伦理类的黑色喜剧，它还内涵了一种简单真实的美学思想，希望破灭后却让人看到希望在死亡中的诞生和超越，使得影片中的情感变化和矛盾冲突更具有张力和复杂性。

关键词：美国丽人；黑色喜剧；美一、影片中所塑造的人物及其表征意义（一）美的追寻者——莱斯特作为男主人，莱斯特在家里并没有地位。

工作不稳定，妻子瞧不起他，女儿也不愿与他多加交谈，这个看似和睦的家庭其实不堪一击。

就像他自己说的那样：“我们的婚姻只是个幌子，为的是表示我们正常。

但其实完全不是这样。

”在被迫去看女儿啦啦操表演时，看到了女儿的同学安吉拉，自认为找到了人生新的激情，并为之改变了莱斯特曾经枯燥无味、一味忍受的生活。

到结局处发现眼前尤物只是个懵懂单纯的孩子时，他也终于懂得曾经拥有的快乐，在他一句句的低声呓语中完成了他自始至终对美的追寻，他意识到了美是那么地平凡和简单。

（二）美的误读者——卡罗琳莱斯特家的女主人卡罗琳是一位渴望成功的房地产中介家，妆容精致，身材姣好，热爱鲜花，追求高品质的生活。

可就是这位看起来从容自信的成功女性，在影片中时常可以看到属于她的黑色幽默的荒谬场景。

她在早上开始打扫即将出售的房子时神经质地不断自言自语“I will sell this house tod ay”；在夕阳下送走客人，优雅拉上窗帘转身的瞬间痛哭出声；在17秒的哭泣中伴随6次用扇自己耳光骂自己5次“stop it！You weak.You baby！Shutup！”的反复性词语；明明有性需求却因丈夫的“不成功”拒绝和他做爱；好不容易和丈夫在青春的回忆中几乎可以成功擦枪走火时却因为一张名贵的沙发而停止；她可怜的欢乐不是来自自己追求的完美家庭或成功事业，却是来自于她的婚外情；在观众都会暗骂“活该”的被婚外者抛弃后却只有强装完美的笑容逞强。

美国丽人（American Beauty）影评电影评论：美国丽人（American Beauty）《美国丽人》是一部令人深思的电影，它以其真实而又震撼的故事，给观众带来了强烈的感觉和共鸣。

导演山姆·门德斯（Sam Mendes）通过对美国中产阶级家庭的描绘，勾勒出了一个追求表面美丽的社会对个体造成的压力和伤害。

首先，电影通过对主人公莱斯特（Lester）的刻画，揭示了现代社会中个体的迷失和焦虑。

莱斯特是一个中年男人，他在事业上陷入了困境，婚姻也变得平淡无奇。

他开始重新审视自己的生活，追求自己真正的内心渴望。

这种对自我认同的探索和追求不仅让观众感到共鸣，也让我们反思自己是否真正活出了自己的生活。

其次，电影通过对家庭关系的描绘，展现了人际关系的复杂性和脆弱性。

莱斯特的妻子卡罗琳（Carolyn）在外人面前保持着完美的形象，但内心却充满了不满和焦虑。

她的女儿简（Jane）也在寻找自己的身份和自由。

这些家庭成员之间的纠葛和矛盾，让观众深刻地感受到了现实生活中家庭关系的复杂性。

此外，电影还通过对美的追求和表面美丽的批判，让观众思考了现代社会中对外在形象的过度追求。

卡罗琳作为一个地产经纪人，对房子的美化和销售充满了热情，但内心却感到空虚。

而莱斯特则迷恋上了他女儿朋友的美丽，这种对表面美丽的追求最终将他引向了悲剧。

电影通过这些人物的故事，提醒观众要珍惜内心的美丽和真实。

最后，电影的摄影和音乐也给观众带来了强烈的感受。

山姆·门德斯运用了大量的慢镜头和富有诗意的画面，展现了生活中的细节和美感。

配乐也充满了情感，与故事情节相得益彰。

这些技术手法让观众更加沉浸在电影的氛围中，加深了对故事的理解和共鸣。

总的来说，电影《美国丽人》通过对现代社会中个体迷失、家庭关系和美的追求的描绘，给观众带来了强烈的感受和共鸣。

它让我们反思自己的生活和价值观，并提醒我们要珍惜内心的美丽和真实。

这部电影不仅是一部优秀的艺术作品，更是一面镜子，反映了现实社会中的问题和挑战。

美国丽人（American Beauty）影评《美国丽人》是一部令人难以忘怀的电影，它以其深刻的情感和令人动容的故事而闻名。

作为一名电影评论家，我被这部电影所触动，它给我带来了许多感受和共鸣。

首先，电影中的主题深入人心。

《美国丽人》探讨了现代社会中人们内心的迷失和渴望真实的生活。

通过讲述主人公莱斯特·伯恩厄姆的故事，电影揭示了我们在追求表面上的成功和社会认可时，往往忽略了自己真正的内心需求。

这种对内心迷失的描绘让我深思自己在生活中的选择和追求。

其次，电影中的角色塑造令人印象深刻。

凯文·史派西饰演的莱斯特·伯恩厄姆是一个看似普通的中年男子，但在他的内心深处，有着强烈的渴望和反叛的精神。

他的转变和觉醒代表了许多人在面对生活困境时的内心斗争和勇气。

而其他角色，如他的妻子卡罗琳、邻居简和他们的女儿简，也都展现了各自独特的内心世界和挣扎。

这些角色的复杂性和真实性让我对他们的命运产生了强烈的情感共鸣。

此外，电影的导演萨姆·门德斯以其出色的导演技巧和独特的视觉风格，为观众呈现了一幅令人陶醉的画面。

他运用了大量的符号和隐喻，通过细腻的镜头语言和剪辑手法，将故事中的细节和情感层次展现得淋漓尽致。

这些技巧使得观众能够更深入地理解角色的内心世界，并感受到他们的情感冲突和成长。

最后，电影中的音乐也是其亮点之一。

托马斯·纽曼为电影创作的配乐充满了情感和张力，与故事情节相得益彰。

音乐与画面的完美结合，为观众创造了一种独特的氛围和情感体验，使得观影过程更加丰富和感人。

总的来说，《美国丽人》是一部值得一看的电影。

它以其深刻的主题、令人难忘的角色和出色的导演技巧，给观众带来了强烈的感受和共鸣。

它让我们思考生活的意义和真实的追求，以及我们内心深处的渴望和挣扎。

这部电影将继续在观众的心中留下深刻的印象，成为经典之作。

解析《美国丽人》中的女性
田利红
【期刊名称】《湖北广播电视大学学报》
【年(卷),期】2012(032)001
【摘要】从心理学家荣格的人格原型学说和巴赫金的丑角化理论,展开美国电影《美国丽人》中丽人们的角色剖析,从而对父权制的无形压迫进行了深层次的控诉。

%From the perspectives of psychologist C.G.Jung＇s human psyche and Bakhtin＇s clown theory probing the female characters in American film American Beauty, it aims to expose and accuse of the invisible oppression of patriarchy system upon women.
【总页数】2页(P76-77)
【作者】田利红
【作者单位】广播电影电视管理干部学院,山西太原030013
【正文语种】中文
【中图分类】I106
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