【朦胧英语沙龙】电影中的经典英文台词及其它

~月朦胧~

#7 David Cam 007

#7 戴维·卡梅邦德伦

~月朦胧~

从蝙蝠侠身上学会的3件事

由克里斯托夫-诺兰执导的商业大片《蝙蝠侠前传3：黑暗骑士崛起》（The Dark Knight Rises）讲述了克里斯蒂安-贝尔和汤姆-哈迪在明处和暗处的双重较量，汤姆-哈迪、奥斯卡影后玛丽恩-歌迪亚以及当红帅少约瑟夫-高登-莱维特的精彩表演令人期待——哈迪扮演的是“毁灭者”班恩，歌迪亚扮演女主角之一，莱维特则扮演黑手党头目卡门-法尔科内的儿子阿尔贝托-法尔科内。英国女演员朱诺-坦普尔扮演一个街头流浪女，曾在前两部《蝙蝠侠前传》中出现的加里-奥德曼、迈克尔-凯恩都回归剧组。猫女是本片中的一大亮点，作为蝙蝠侠的敌人，她是一个带着鞭子、喜欢冒险的盗窃犯。现代作家认为，猫女的行动和服饰特征是一个对虐待史的回应。此次由安妮-海瑟薇代言扮演。

~月朦胧~

With the upcoming release of the new Christopher Nolan movie, “The Dark Knight Rises”, I thought it would be a great opportunity to share with you what I learned from Batman.

~月朦胧~

I’ll start with a brief introduction of Bruce Wayne, for those of you who are unfamiliar with the comic books or — in this case — Christopher Nolan’s Batman films. Bruce Wayne was a young boy when his parents were murdered in front of him. Due to this horrible tragedy, Bruce experiences a psychological trauma. As Bruce grows up, he learns to bury his hate and guilt of his parents murder inside as he leaves Gotham City. As he grows up and finishes his education, Bruce spends a year investigating the minds of the underworld. After he becomes “truly lost”, a man named Henry Ducard promises to help him find his path in life. Bruce, eager to learn, is led to a remote village located somewhere in the Himalayas, where he trains several martial arts with ‘the League of Shadows’. It is here that he is taught three of the most important lessons.

~月朦胧~

The first lesson is that willpower is more important than training. One must possess a strong will in order to achieve something truly great. The second lesson he is taught is that in order to achieve something truly great, he must devote himself to an ideal. If he can do so, he would become more than just a man; he would become a legend. The third lesson he is taught is that in order to manipulate the fears of others, he must master his own. After training for several years, he returns to Gotham with one goal in mind: to fight the means to end injustice.

~月朦胧~

As a man, Bruce would be corruptible and put the lives of his loved ones in risk. As a symbol, he would be incorruptible. He chooses the bat as a way to embrace his fear and share his dread with his enemies. He uses his wealth to hide suspicion of his identity as Batman.

This is only a brief summary from Christopher Nolan’s “Batman Begins” movie. The Batman portrayed in graphic novels is a much more complex character. There are many things I learned from Bruce Wayne, but it all comes down to three:

~月朦胧~

1. The first thing Bruce Wayne taught me that is that, in order to achieve anything in life, you must be willing to sacrifice. Bruce Wayne sacrificed his wealth and trained several years to fight injustice. He sacrificed love in fear of putting his loved ones at risk. He did all this knowing he would never get recognition for his actions. It’s easy to make choices with no consequences, and harder to make choices knowing that one wrong move can put the lives of your loved ones at risk.

~月朦胧~

2. The second thing Bruce Wayne taught me is that fear is inevitable. Everyone is afraid. All creatures fear. Even the mighty Batman is afraid. He’s afraid of putting his loved ones in risk, not just bats. We’re all afraid, but the real test is going on with our lives despite the fear. Bruce struggled making choices that would harm either one of his personalities as Bruce Wayne and Batman. He embraced his fears and made his enemies share his dread. He made fear his friend.

~月朦胧~

3. The third thing Bruce Wayne taught me is that struggle is a part of our daily lives, and just like fear, it is inevitable. Bruce Wayne may not come from Krypton, have the ability to fly or have any mutational superpowers, but at the end of the day, he’s a hero. Bruce Wayne is an average man just like you and me. His heart can be broken. He struggles like many people do. He struggles in making choices that are good for him and what’s good for Batman. He struggles with his true identity. Is his true face that of Bruce Wayne the billionaire playboy, or a vigilante who fights injustice? We all struggle with our identity. We create different identities for our parents, friends and coworkers. You don’t know need superpowers to become a hero; what you need is discipline and the willpow

~月朦胧~

I believe we can all strive to be Batman in our own ways.
To me, Batman is something more than a fictional character from graphic novels. He represents the good and the evil in all of us; the constant struggle we each face in our daily lives, the fear we hide deep within. But most of all he represents hope. My favorite quote from “Batman Begins” is:
“It’s not who you are from the inside, but what you do that defines you.”
Batman might have been a pyshological wreck from the inside, but it was ultimately what he did that defined him. He went through the tragedy of his parents death, which could have destroyed his life. Instead, he devoted himself to an ideal…and truly become a legend.

~月朦胧~

《新一吻定情》：意料之中的惊喜



总有那么几部剧，不管翻拍几版却总能受到观众的喜爱。曾被翻拍多次的《一吻定情》再次被搬上荧幕，虽然剧情并无两样，但全新的拍摄手法还是令人耳目一新。

~月朦胧~

I never liked the idea of remakes or understood the point of taking the trouble to tell a story that people already know. That is, until now. Having finished the first six episodes of Itazura na Kiss ― Love in Tokyo, I’m literally counting down the days until the seventh episode comes.
我不喜欢翻拍的理念，也不明白为什么要花心思去讲一个众所周知的故事。这是我之前的想法。但现在，在看过前六集《新一吻定情》后，我改变了这一看法，我几乎每天都在期待着第七集的播出。

~月朦胧~

The latest TV adaptation of Japanese manga Itazura na Kiss follows almost the same storyline as the 1996 and 2005 versions: A high school girl named Kotoko writes her first love letter to Naoki, the smartest and cutest boy in the school and, sadly, is turned down. But fate intervenes when the house of Kotoko’s family is destroyed by a meteor. While the house is being rebuilt, Kotoko and her dad stay with the dad’s childhood friend, whose son turns out to be Naoki! As expected, the boy eventually falls in love with Kotoko.
根据日本漫画《一吻定情》改编而成的最新剧集同1996年和2005年的老版故事情节相差无几：女高中生相原琴子向“校草”江直树递出人生第一封情书，却遭到拒绝。但命运捉弄，琴子的家被一颗流星夷为平地。在重建家园期间，琴子父女住进琴子爸爸的儿时好友家中，而这位好友的儿子居然就是江直树！不出所料，直树最终爱上了琴子。

~月朦胧~

A meteor sounds like a melodramatic and crazy way to initiate a love story, but this time it’s told in a convincing manner.
用流星来作为一个爱情故事的开头听上去似乎有些天马行空和矫揉造作，但这回《新一吻定情》则选择了一种更为真实的叙事手法。

~月朦胧~

For the first time, Naoki isn’t a god among men ― he shows human flaws and emotions. Beyond his chiseled cheekbones and flawless hair we are presented with a guy who can get angry, nervous and embarrassed, too. And Kotoko is no longer Miss Good-for-nothing. Slow witted as she may still be, she impressed me with her perseverance and adorable cuteness. After all, who could’ve believed that the perfect, unapproachable Naoki and the thickheaded, plain looking Kotoko of those previous versions are a good match for each other?
第一次，直树不再是“男神”——他有常人的缺点和喜怒哀乐。除了轮廓分明的脸颊以及完美无瑕的发型之外，呈现在观众眼前的是一个会生气、会紧张和会尴尬的男生。琴子也不再是一个平淡无奇的女孩。尽管做事仍就“慢半拍”，但她不屈不挠的毅力和娇小可爱的模样都令人印象深刻。毕竟，之前那些版本中，拒人于千里之外的完美直树与相貌平平的呆木琴子这对情侣搭配难以令人信服。

~月朦胧~

Besides this, a fitting cast really brings these credible characters to life. Yuki Furukawa, 25, is tailor-made for playing Naoki. Tall, slim, irresistibly handsome, and with a voice that kills ― there’s nothing any man could do to stop his girlfriend from drooling over him. Then there’s Miki Honoka, who has a real knack for playing Kotoko. The 16-year-old really knows how to keep her cuteness from being cloying.
除此之外，犹如量身定做版的演员阵容也使得剧中人物更加真实且鲜活。25岁的古川雄辉是出演江直树的不二人选。高挑修长的身材、令人无法抗拒的帅气以及秒杀一切的嗓音——男士们已经无法阻止女友花痴这位帅哥了。饰演琴子的未来穗香演技娴熟，16岁的她知道如何卖萌且不令人生厌。

~月朦胧~

Another plus is that rather than telling the story only from Kotoko’s perspective, which is the typical approach, this new remake walks a fine line between Kotoko’s and Naoki’s perspectives. This is a smart move as it allows us to see how Naoki’s feelings for Kotoko develop and grow over time. It also avoids the fairytale-like ending becoming an abrupt twist ― a narrative flaw that has afflicted previous versions.
本剧另一个加分的亮点是，不同于老版中完全从琴子角度出发的惯有叙事手法，新版剧集在琴子和直树的视角中转换得游刃有余。这点的妙处在于，让我们看到了直树对琴子的感情是如何发展变化并与日俱增的。新版也摒弃了峰回路转般的童话结局——这是所有老版故事的通病。

~月朦胧~

Despite the predictable ending, it’s fair to say that, for a remake, Itazura na Kiss ― Love in Tokyo has its share of surprises.
尽管结局尽在预料之中，但公平地说，对于一部翻拍作品，《新一吻定情》还是令人有所惊喜的。

~月朦胧~

奥斯卡热门The Iron Lady《铁娘子》

梅丽尔·斯特里普Meryl Streep饰撒切尔夫人



The Iron Lady, review: 早在宣布梅丽尔·斯特里普（饰演撒切尔夫人的那一刻，奥斯卡就已经为她预留下了一个提名席位。今这部传记片不会如流水账似的把撒切尔夫人的生平全都展现出来，而是重点聚焦1982年马岛战争期间撒切尔度过的17天，这17天也是她整个政治生涯的转捩点。吉姆·布劳德本特在片中扮演撒切尔夫人的丈夫丹尼斯，亚历珊德拉·罗奇和哈里·劳埃德扮演年轻时期的玛格丽特和丹尼斯。

~月朦胧~

Meryl Streep's performance in The Iron Lady is astonishing, writes Robbie Collin.

“One of the great problems of our age is that we’re governed by people who care more about feelings than they do about thoughts and ideas,” says Margaret Thatcher in The Iron Lady. “Now, thoughts and ideas – that’s what interests me.” It’s a pivotal line in director Phyllida Lloyd and screenwriter Abi Morgan’s absorbing, exhilarating biopic of the United Kingdom’s only female prime minister, but the film itself doesn’t agree. The Iron Lady does not pick over thoughts and ideas for an hour and 45 minutes: Lloyd and Morgan are fascinated by who their subject was and is, and rather less by what she stood, and continues to stand for. Personality politics might have been anathema to Margaret Thatcher MP, but this film is propelled by the sheer power of her presence.

~月朦胧~

It begins with a playful shot of a bottle of milk being taken – perhaps snatched – from the shelf of a London corner shop. The elderly Lady Thatcher (Meryl Streep) has left her house to buy groceries; fumbling for change in her handbag, she seems like an exile from another era. Over breakfast, we see her talking to her husband Denis (Jim Broadbent) – except Denis died in 2003. A muddled conversation with a young aide about a concert takes her back to a theatre trip at which a young Denis (Harry Lloyd, every bit as charming here as he was as Herbert Pocket in the recent Great Expectations serialisation) playfully presented her with a sugar mouse. The film’s structure is confused, but deliberately so: events in Lady Thatcher’s present trigger vivid memories of her past. Shaping a plot around a real person’s mental decline sounds heartless, but here it’s been done compassionately, and in a way that makes narrative sense. The film has six decades of history to get through, from the Falklands War to the Poll Tax riots and the Grand Hotel bombing – better this than the kind of 'Twenty Most Important Political Moments’ checklist format that hampered Oliver Stone’s recent George W. Bush biopic.

~月朦胧~

The present-day scenes also serve as a vital coda to one of The Iron Lady’s central threads: the personal cost of power. Lloyd and Morgan want us to appreciate just how much this grocer’s daughter from Grantham had at stake when she entered the overwhelmingly stuffy, overwhelmingly male world of British politics. When Thatcher arrives at the House of Commons for the first time after being elected MP for Finchley in 1959, there’s a telling shot of her distinctive blue hat bobbing alone in a sea of half-bald heads. When a Labour member sneers that she “doth screech too much” following a Commons speech, she responds by employing a voice coach, leading to a stagy 'training montage’ in which Thatcher’s vowels and hairstyle are given a bouffant boost under the eye of Gordon Reece (Roger Allam). There’s a glimpse of camp humour here that seems to have been toned down elsewhere in the film: a line from the trailer, in which Thatcher asks a dining room full of European dignitaries “Gentlemen, shall we join the ladies?” has been lost in the edit.

~月朦胧~

Perhaps Lloyd was worried that her film had to be serious enough – she is, after all, the director whose only previous film is the £400 million-grossing, pro-celebrity karaoke tournament Mamma Mia. To say The Iron Lady is better-directed than Mamma Mia isn’t much of a compliment, but it’s true, and a few clunky images aside (a close-up of Thatcher’s feet treading on fallen rose petals as she leaves Downing Street is a stupid person’s idea of a clever shot), the film moves fluidly and feels polished and authentically cinematic.

~月朦胧~

But then, perhaps I’ve just been dazzled by Streep. In a career full of great performances, this is surely one of her greatest: the changes in her voice and posture as she moves from youthful, fire-bellied politician to elderly stateswoman develop so smoothly, you could plot them on a bell curve. As time passes, her voice slows and deepens, the corners of her mouth and eyes turn down, her walk loses speed but not purpose. Extraordinarily, at both screenings of The Iron Lady I’ve attended, an audience member has started heckling Streep as if she actually is Thatcher, and while this says something about the hecklers, it says just as much about the quality and accuracy of her work.

~月朦胧~

Awards season glory for Streep is a given, but the rest of the cast are hardly slacking: Broadbent adds lashings of pathos; Olivia Colman is an unobtrusive delight as Carol Thatcher (her brother Mark appears only as a child and on the other end of a long-distance phone call); Alexandra Roach plays the young Margaret Thatcher with grace and subtlety; and as Geoffrey Howe, Anthony Head can be sensationally dead-sheep-like when it counts.

~月朦胧~

Some viewers may be disappointed that a Thatcher biopic lacks an explicit political agenda, but the film succeeds as a drama for that very reason. Lloyd and Morgan have no intention of immortalising their subject: in fact, they do just the opposite, which those with an axe to grind will find even less palatable. They make her fully human.

~月朦胧~

时代杂志评《泰囧》：低俗小片如何成为中国最大票房黑马

《泰囧》在压抑的贺岁档期间为观众带来阵阵欢笑，成为华语电影最大一匹黑马。
有教授批评它三俗，电影圈的同行们都在分析它爆火的原因——档期、剧情、拍摄技巧？
来看美国第一新闻周刊《时代》杂志的影评和分析。

~月朦胧~

Lost in Thailand is by any measure a ridiculous movie. Two Chinese colleagues race to find their boss at a remote monastery in Thailand, battling bad traffic, gangsters, a snake, a kickboxer and, most important, each other, all in an effort to win the rights to an improbable invention: Super Gas, a liquid that turns a little bit of gasoline into a lot. Somehow it is doing ridiculously well. With a budget of less than $6 million, the film has earned $193 million since it opened Dec. 12, making it China’s most profitable film and pulling in more viewers than foreign hits such as Avatar and the third Transformers, according to a report in the Caixin business journal.
不管怎么说，《人再囧途之泰囧》都是一部可笑的电影。两个中国人，同一个公司的同事比赛谁先找到泰国找到老板。而老板在泰国一个偏远地区的寺庙，他们要面对糟糕的交通、对抗黑帮、大战毒蛇、对决泰拳拳手，而最重要的是，双方都不遗余力要争夺一项发明的授权。这项并不完善的发明叫油霸，它是一种液体，能够使少量汽油倍增。不知为何，这部电影票房好得不可思议。据《财新》商务期刊的报道，它的预算不到600万美元，但自12月12日上映以来，票房收入已达19300万美元，成为最赚钱的华语片，比外国大片如《阿凡达》和《变形金刚3》的观影人数还多。

~月朦胧~

While those films all relied on big-budget special effects, the action scenes in Lost in Thailand look like something out of a Leslie Nielsen film. The plot feels like a rehash of The Hangover Part II and Planes, Trains and Automobiles. Without a terribly original script or eye-catching pyrotechnics, what has made Lost in Thailand such a hit? It’s a question that the rest of the film industry badly wants to answer.
那些大片依靠的都是昂贵的特效，而《泰囧》中的动作场面却与莱斯利·尼尔森电影的风格异曲同工。剧情感觉像是《宿醉2》和《飞机、火车和汽车》的翻拍。《泰囧》的剧本并非创意十足，艺术技巧也并不引人入胜，是什么让它这么火？电影圈的看客们都急于回答这个问题。

~月朦胧~

Part of the explanation is timing. The New Year’s period is when China sees its biggest blockbusters rolled out to coincide with holidays on Jan. 1 and the all-important Chinese New Year a few weeks later. Director Feng Xiaogang has been synonymous with the hesuipian, or New Year’s celebration film, offering lighthearted comedic fare like If You Are the One for family viewing over the holidays. But some of Feng’s recent works have been deadly serious. In 2010 he released Aftershock, about a pair of deadly earthquakes, and in December he released 1942, a film about wartime famine in central China. The other big release of this season, director Lu Chuan’s The Last Supper, about a power-mad Han-dynasty Emperor, is only slightly less grim. Lost in Thailand is a natural alternative for audiences looking for something a little happier, then. “This year’s hesuipianlike 1942 and The Last Supper are full of serious historical topics, and the repressed atmosphere leaves visitors feeling gloomy,” said the China Culture Daily, a state-run newspaper. “In a flash, the humor of Lost in Thailand makes viewers feel happy.”
有人说是因为档期。贺岁档包括元旦和几周后至关重要的新年档，中国最宏大的巨资电影都会赶在这期间上映。冯小刚导演一直是贺岁片，即欢庆新年的电影的代名词。节日期间，他常为观众献上适宜阖家观看的轻喜剧，如《非诚勿扰》。但是冯导演最近的一些作品非常严肃。2010年，《唐山大地震》上映，讲述了大地震中一对姐弟的故事，而今年12月上映的《温故1942》是关于中原地区战时饥荒的故事。同期上映的其他大片包括陆川导演的《王的盛宴》，影片讲述的是一个醉心权术的汉朝皇帝，基调之阴郁只比《1942》稍逊一点儿。而大部分观众寻求较为欢乐的影片，所以《泰囧》自然成为他们的选择。“今年的贺岁片，像《1942》和《王的盛宴》都充满了严肃的历史话题，压抑的气氛使观众感觉郁闷，”国营的中国文化报评论道，“《泰囧》的幽默搞笑很快就能让观众开心起来。”