问题描述：
看返老还童的感受英文
就是用英文说下对这部电影的感受.说下生命的意义.
就是用英文说下对这部电影的感受.说下生命的意义.
问题解答：
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The Curious Case Of Benjamin Button
Fable about a man who is born old and grows younger over time starring Brad Pitt,Cate Blanchett and directed by David Fincher
We begin at the end.Daisy (Cate Blanchett) is on her deathbed,attended to by her daughter Caroline,played by Julia Ormond.In Daisy's bag,there is a diary that once belonged to Benjamin Button.She asks her daughter to read it,and Brad Pitt's narration takes us back to the night of Button's birth,the end of the First World War,when he emerged into the world a wizened old baby.
They say that short stories make the best films.Rudyard Kipling's 'The Man Who Would Be King' barely covers three pages.The Curious Case Of Benjamin Button was a short story by F Scott Fitzgerald,a great American writer whose tortured,beautiful,boozy novels have never made an easy transition to Hollywood cinema:not one of the three adaptations of 'The Great Gatsby' are fondly remembered.From Fitzgerald's conceit of a man born old and growing younger with every passing year,director David Fincher,screenwriters Eric Roth and Robin Swicord,and the cast grow an epic film about life and death,regret and perfection.
Screenwriter Roth has been here before.His Forrest Gump was also a journey through the American century in the company of an extraordinary man with a simple heart.And like Gump,Benjamin Button has a host of Oscar nominations.Is it Gump No.Death saves it from that fate.
After his birth,the wizened baby Button is abandoned by his father on the doorstep of an old people's home run by Queenie (Taraji P Henson).Queenie's difficulty in conceiving means she takes in the malformed infant on her doorstep without a second thought.The old people's home is the last stop on the way to the grave,a suitable setting for Benjamin's wrinkled childhood.People will always pass him by as he reverses along time's one-way street.Among the nearly dead,youth appears in the form of Daisy,the granddaughter of a resident who strikes up a friendship with the child-like old man.
Daisy grows up and moves to New York to be a ballet dancer,falling in with a bohemian crowd.Benjamin becomes a sailor on a tug boat.For a moment,their contrasting lives - her's artistic and beautifully pretentious,his one of honest toil and old manners - threatens a reprise of Forrest Gump's and Jenny's relationship which so polarised audiences.Gump's love failed to leap across the divide of America's culture wars,in which Jenny's sweet self came a cropper in the decadence of the 1960s - the era that conservative America regards as the point of decline,as opposed to liberal America's idolisation of the era as one in which suffocating hypocrisy and moral evils were swept away.For Benjamin and Daisy,the 1960s is the sweet spot at which her ageing and his "youthing" meet in the middle,the only time they can come together as equals.
Throughout the tale,we return to Daisy on her death bed in New Orleans.Outside the hospital window,Hurricane Katrina gathers force.In this narrative frame,Daisy's features are bald and sunken,one gnarled hand scratches at her chest.Cancer is adding the final touches to its grim portrait.Her thoughts are morphine-loose and drifting back over the life she shared with Benjamin.
Even though the film has been shot in a palette that goes from Oscar caramel to airbrushed dusk,the lush classic
Hollywood aesthetic of the tale is offset by this grim frame.Benjamin may be a sweet outsider but he is no 'GumpJesus' - neither saviour nor redeemer,he is on the outskirts of history.Where Gump was digitally dropped into famous newsreels,Button's life is a footnote to big events.
We are spared the familiar pinch points of the American century -no hippies,no civil rights,and when Pearl Harbor is bombed,Benjamin is drinking in a bar.Instead Hollywood icons summon periods,most ravishingly when Benjamin goes through his Steve McQueen phase in the 1960s.As he gets progressively younger,the digital make-up recapitulates Brad Pitt's own iconography:Benjamin grows to look like J.D.in Thelma &
Louise.
Benjamin's journey against the tide is a picaresque one,taking in marvellous diversions.In a hotel in the Russian
port of Murmansk,he conducts dead of night liaisons with a diplomat's wife,Elizabeth Abbot.Tilda Swinton plays her with the high cheekbones,sophisticated hauteur and barely-suppressed longing that recalls both Billy Wilder's worldly heroines and Celia Johnson's duty-bound Englishness,a brute matter-of-factness concealing abnegated desires that only emerge in the witching hour.
One fascinating interlude among many,the film's looping narrative arcs gives you the sense you could almost live in it - the epic David Lean-inspired framing encourages further immersion.Fincher and his team's technical achievement in integrating the digital make-up within a lush but grounded reality is considerable.The actors do interesting work with their characters at different points in their respective lives.Around Brad Pitt's still,emotionally simple Benjamin,Cate Blanchett,Tilda Swinton and Taraji P Henson bring layered,inspiring,intriguing performances.
Verdict
An unusual conceit brilliantly executed.A moving work of golden fantasy poised just above the dark waters of our own mortality.
Fable about a man who is born old and grows younger over time starring Brad Pitt,Cate Blanchett and directed by David Fincher
We begin at the end.Daisy (Cate Blanchett) is on her deathbed,attended to by her daughter Caroline,played by Julia Ormond.In Daisy's bag,there is a diary that once belonged to Benjamin Button.She asks her daughter to read it,and Brad Pitt's narration takes us back to the night of Button's birth,the end of the First World War,when he emerged into the world a wizened old baby.
They say that short stories make the best films.Rudyard Kipling's 'The Man Who Would Be King' barely covers three pages.The Curious Case Of Benjamin Button was a short story by F Scott Fitzgerald,a great American writer whose tortured,beautiful,boozy novels have never made an easy transition to Hollywood cinema:not one of the three adaptations of 'The Great Gatsby' are fondly remembered.From Fitzgerald's conceit of a man born old and growing younger with every passing year,director David Fincher,screenwriters Eric Roth and Robin Swicord,and the cast grow an epic film about life and death,regret and perfection.
Screenwriter Roth has been here before.His Forrest Gump was also a journey through the American century in the company of an extraordinary man with a simple heart.And like Gump,Benjamin Button has a host of Oscar nominations.Is it Gump No.Death saves it from that fate.
After his birth,the wizened baby Button is abandoned by his father on the doorstep of an old people's home run by Queenie (Taraji P Henson).Queenie's difficulty in conceiving means she takes in the malformed infant on her doorstep without a second thought.The old people's home is the last stop on the way to the grave,a suitable setting for Benjamin's wrinkled childhood.People will always pass him by as he reverses along time's one-way street.Among the nearly dead,youth appears in the form of Daisy,the granddaughter of a resident who strikes up a friendship with the child-like old man.
Daisy grows up and moves to New York to be a ballet dancer,falling in with a bohemian crowd.Benjamin becomes a sailor on a tug boat.For a moment,their contrasting lives - her's artistic and beautifully pretentious,his one of honest toil and old manners - threatens a reprise of Forrest Gump's and Jenny's relationship which so polarised audiences.Gump's love failed to leap across the divide of America's culture wars,in which Jenny's sweet self came a cropper in the decadence of the 1960s - the era that conservative America regards as the point of decline,as opposed to liberal America's idolisation of the era as one in which suffocating hypocrisy and moral evils were swept away.For Benjamin and Daisy,the 1960s is the sweet spot at which her ageing and his "youthing" meet in the middle,the only time they can come together as equals.
Throughout the tale,we return to Daisy on her death bed in New Orleans.Outside the hospital window,Hurricane Katrina gathers force.In this narrative frame,Daisy's features are bald and sunken,one gnarled hand scratches at her chest.Cancer is adding the final touches to its grim portrait.Her thoughts are morphine-loose and drifting back over the life she shared with Benjamin.
Even though the film has been shot in a palette that goes from Oscar caramel to airbrushed dusk,the lush classic
Hollywood aesthetic of the tale is offset by this grim frame.Benjamin may be a sweet outsider but he is no 'GumpJesus' - neither saviour nor redeemer,he is on the outskirts of history.Where Gump was digitally dropped into famous newsreels,Button's life is a footnote to big events.
We are spared the familiar pinch points of the American century -no hippies,no civil rights,and when Pearl Harbor is bombed,Benjamin is drinking in a bar.Instead Hollywood icons summon periods,most ravishingly when Benjamin goes through his Steve McQueen phase in the 1960s.As he gets progressively younger,the digital make-up recapitulates Brad Pitt's own iconography:Benjamin grows to look like J.D.in Thelma &
Louise.
Benjamin's journey against the tide is a picaresque one,taking in marvellous diversions.In a hotel in the Russian
port of Murmansk,he conducts dead of night liaisons with a diplomat's wife,Elizabeth Abbot.Tilda Swinton plays her with the high cheekbones,sophisticated hauteur and barely-suppressed longing that recalls both Billy Wilder's worldly heroines and Celia Johnson's duty-bound Englishness,a brute matter-of-factness concealing abnegated desires that only emerge in the witching hour.
One fascinating interlude among many,the film's looping narrative arcs gives you the sense you could almost live in it - the epic David Lean-inspired framing encourages further immersion.Fincher and his team's technical achievement in integrating the digital make-up within a lush but grounded reality is considerable.The actors do interesting work with their characters at different points in their respective lives.Around Brad Pitt's still,emotionally simple Benjamin,Cate Blanchett,Tilda Swinton and Taraji P Henson bring layered,inspiring,intriguing performances.
Verdict
An unusual conceit brilliantly executed.A moving work of golden fantasy poised just above the dark waters of our own mortality.
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