Ⅰ 卓別林電影英語作文
When we think of Charlie Chaplin,the first impression was that :He worn a bowler(圓頂高帽) hat,slightly too small for him,a tight jacket,outsize pants(褲子),enormous(巨大的) boots and a jaunty （洋洋得意的）little swagger cane(手杖) a strange mixture of child and man,gentle,wiseful,mischievous（淘氣的）,brave,and always a survivor.
His life will be divided really into three parts：Childhood life ,Marital life ,Life in later years
幼年生活
Charlie Chaplin was born on April 16,1889 in London and dead on December 25,1977 in Swiss corsi.His full name was Charles spencer Chaplin jazz (爵士)and pet name was Charlie.
His father was an entertainer and although not one of the big names,he was doing very well.His mother Hannah was also an entertainer,a wonderful mimic(模仿者),she had a sweet,charming voice.While they were by no means rich,the music family provided the Chaplins with a comfortable living.Unfortunately happy life didn't last long,father is a alcoholism,then he slowly destroyed his marriage .But his mother didn』t give up and try every means to let Charlie and his little brother Syney keep warm and clean.Charlie and his brother were sent to an orphanage (孤兒院)in London in 1896.After he was 7,he left the orphanage,becoming a homeless and helpless child.In this time ,he played many roles ,like newspaper man ,packman(小販),servant ,cleaner and so on .When Charlie was 12,his father died because of drinking and his mother suffered from mental disease .
When he was 17,he joined in the famous troupe ——Carnot ,where he met his best teacher ——Carnot ,who help him to the top of the comedy.
He was chosen by M.Sinitar when he followed the trope of Carnot to perform in 1913,from which he bagan his movie career.
In 1918,he built his own studio ,and controlled his works himself.It was through comedy to express his disdain (蔑視)to upper–class of society .
婚姻生活：
All his lifetime,he married three times .
It was1908,Charlie was nineteen and he fell in love with Hetty Kelly who was only fifteen.But her parents ended the romance before it really begun.
In 1914,Charlie married Mildred Harris,pretty in the same way as his first love Hetty Kelly.It was hopeless even from the start.In November,1920,they were officially divorced.
In November 1924,Charlie had married his leading (女主角)lady,Lita Grey.It was no wiser a marriage than his first had been.
After failure of the third marriage in 1942,He had met a young woman,who was only 17and the daughter of a great American playwright(劇作家).Her name was Oona.They lived a very happy life after they married and they had eight children.
晚年生活：
It was 1945,America became hatred of Communism(),Charlie became the victim of this persecution(迫害).In order to fight against with it,he wrote the new drama——Limelight(舞台生涯) and in the 1950s he was forbidden to enter US.He became a vagrant(流浪者).
In January 1953,they settled in Vienna that was to be Charlie's home for the rest of his life.
In 1975,just before his eighty-sixth birthday,Charlie was knighted (授予爵士) by Queen Elizabeth II.
In 1972,he and his wife came to America to get his award ,the government just gave him two months to stay in America,but he received 5 minutes』 applauding in the awarding ceremony.
His later years had a very ease life .When he died,he shared the sounds of excitement and happiness ,he left quietly and contently.
Ⅱ 英語作文 卓別林對喜劇電影的影響
Sir Charles Spencer Chaplin, Jr. KBE (16 April 1889 – 25 December 1977), better known as Charlie Chaplin, was an Academy Award-winning English comedic actor and filmmaker. Chaplin became one of the most famous actors as well as a notable filmmaker, composer and musician in the early to mid "Classical Hollywood" era of American cinema.
Chaplin acted in, directed, scripted, proced and eventually scored his own films as one of the most creative and influential personalities of the silent-film era. His working life in entertainment spanned over 65 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer almost until his death at the age of 88. His high-profile public and private life encompassed both alation and controversy. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, Chaplin co-founded United Artists in 1919.
In a review of the book Chaplin: A Life (2008), Martin Sieff writes: "Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itself apart through World War I. Over the next 25 years, through the Great Depression and the rise of Hitler, he stayed on the job. He was bigger than anybody. It is doubtful any indivial has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most."
Ⅲ 電影卓別林的悲喜人生的觀後感英語
"Modern Times" begins with a shot of sheep going down a runway followed by a shot of workers entering a factory… Charlie is set down in the midst of instrial civilization,which is dominated by machinery and in which men are organized into mechanical units,Capital and Labor… Charlie's real enemies are no longer the Cop or the Boss,with whom he can always enter into some human relation,but a vast impersonality,invisible and invulnerable…
"Modern Times" offered a variety of minor attractions:it featured Chaplin's wife,Paulette Goddard; it had wonderful gags; it inlged in tricks of sound which came to the very edge of being dialog… But what did the picture mean,what was it trying to say?Because Chaplin charged his usual enormous percentage for it,and because of foreign receipts,"Modern Times" made money,but exhibitors were not happy at the limited audience turnout… For the majority,the new Charlie was too serious; for the minority,not serious enough…
Since the picture seemed to be about the dehumanizing effect of machinery,intellectuals called upon Chaplin to join them in reorganizing machine culture to some more human scale of things…
Off the screen,Chaplin said nothing… On the screen,his anarchic hostility for any kind of machine culture expressed itself in scenes like that in which Charlie is fed by a machine and that in which,crazed by the assembly line,he runs into the street,his arms moving convulsively like two pistons… Charlie the rebel,Charlie the poet,Charlie the invincibly human,had been turned into a machine.
Ⅳ 卓別林電影的觀後感
我們的文化里沒有卓別林，但我們有張大民。兩者在市民文化里的類型比較相似，都是卑微卻不悲傷的小人物。 卓別林之所以比張大民耀眼無數倍，一是因為機遇，他作為優秀的啞劇演員恰好趕上了默片時代的輝煌期。時代造就了他，而且他正好也順應了那個時代的諸種訴求。 另一個，由於默片沒有語言，天然的擁有無國界性質，隨著各國文化的交流，超越界限的東西總是首先被人理解和接受。 反過來說，張大民則是作為中國改革開放初期，京味市民文化的一個虛擬人物。雖然同樣是微笑含淚，但卓別林是活的，他雖然不能張口，但可以用肢體模擬各種人物，包括為人津津樂道的「黑特樂」，塑造的類型越多，越有可能成為傳奇與不朽。而張大民雖然擁有一張貧嘴（卻也只有一張貧嘴而已），但他永遠只能是張大民，給觀眾帶來的歡笑與淚水總是在這同一個名字背後，不管是馮鞏還是梁冠華來扮演。 但是，卓別林和張大民代表的是同一個階層，他們的生活也是那個階層的真實生活遭遇，而這個階層是每個民族每個國家都具有的，正是這個被貶損被侮辱被壓榨的階層構成了一個社會龐大的中下層基石。 說了一摞廢話，無非想證明，所有區域性文化里都有卓別林，但近100年唯一被我們熟知且銘記的，是那個英國佬卓別林。所以，不論他死的多麼凄涼，但從這方面講，他十分幸運。 再就本片說一下。 《尋子遇仙記》這個片名翻譯得很好，顯然譯者看懂了影片想要說什麼、在說些什麼。雖然整個故事大部分都在寫實，夢只佔結尾一小段（相對全片來說），但那個時候連席德.菲爾德他媽在哪都沒人知道，自然也就沒有好事者來規定電影「一二一」的結構。 故事看似講一個苦人救孤記，但是卻在繞著彎說這個「吃人的社會」。這段夢，放在玻璃匠（卓別林扮演）完全絕望之後，也可略見創作者的用意——既然現實讓人如此絕望，那就在夢里尋找安慰吧！ 而這個安慰的夢卻又是一個另外的地獄，陋巷變天堂，所有人其樂融融，沒有悲傷和貧困。但天堂也最終也受罪惡侵蝕，勾引、天真、嫉妒、暴力，這一切殺死了剛剛變成天使、得到所謂永恆歡樂的玻璃匠。既可以說這一段是對玻璃匠前面遭遇的總結和再渲染，也可以說是卓別林對美國那時糟糕的生存現狀的由衷之言。 這個世界不是什麼好的地方，只是我們已經在了這里。 我們的存在不因我們的意願，而因為存在的就是要存在。
Ⅳ 急求一篇卓別林電影觀後感 英文 100字左右
摩登時代觀後感
"Modern Times" begins with a shot of sheep going down a runway followed by a shot of workers entering a factory… Charlie is set down in the midst of instrial civilization, which is dominated by machinery and in which men are organized into mechanical units, Capital and Labor… Charlie's real enemies are no longer the Cop or the Boss, with whom he can always enter into some human relation, but a vast impersonality, invisible and invulnerable…
"Modern Times" offered a variety of minor attractions: it featured Chaplin's wife, Paulette Goddard; it had wonderful gags; it inlged in tricks of sound which came to the very edge of being dialog… But what did the picture mean, what was it trying to say? Because Chaplin charged his usual enormous percentage for it, and because of foreign receipts, "Modern Times" made money, but exhibitors were not happy at the limited audience turnout… For the majority, the new Charlie was too serious; for the minority, not serious enough…
Since the picture seemed to be about the dehumanizing effect of machinery, intellectuals called upon Chaplin to join them in reorganizing machine culture to some more human scale of things…
Off the screen, Chaplin said nothing… On the screen, his anarchic hostility for any kind of machine culture expressed itself in scenes like that in which Charlie is fed by a machine and that in which, crazed by the assembly line, he runs into the street, his arms moving convulsively like two pistons… Charlie the rebel, Charlie the poet, Charlie the invincibly human, had been turned into a machine.
Ⅵ 卓別林電影觀後感
摩登時代 的，他比較經典的一部 加油：）
像往常一樣，勞累了一天的他踏著大皮鞋推開工作室的門，坐在鏡子前准備卸妝，他默默地注視著鏡子，鏡子里那個頭戴圓禮帽、穿著窄小禮服、留著小鬍子的男人夏爾洛也在默默地注視著他……
已經不記得這是第多少次面對著鏡子里那個既熟悉又陌生的形象，自己給無數人帶來過歡笑，但是有多少人能體會到自己一路走來的辛酸？當自己功成名就之時，又有多少人能排解隨之而來的各種煩惱？也許，只有在靜靜獨處時，才能更加深刻地洞察自己微妙的內心波折。
卓別林無疑是上個世紀最偉大的電影大師之一，他的作品深深的影響了一代又一代的人。
《摩登時代》可以說是卓別林的代表作，正向片語說的那樣「本片講述工業時代，個人企業與人類追求幸福的沖突」。即使在七十多年後的今天，我在看影片時，同樣產生了很多共鳴。
男
主人公夏爾洛是個摩登時代大工廠的一個流水線工人，一天到晚神經質般的重復著同樣的工作，連去廁所抽根煙的享受都被無情自私的資本家剝奪了，最後由於不堪
重負，夏爾洛精神失常，被工廠送到了精神病醫院，同時他也失去了賴以生存的工作。不久，他出院了。可是在大街上，他卻被警察誤認為是工人暴動的領袖而關入
了監獄。在監獄中，他又誤食海洛因導致興奮而戴罪立功，一系列荒誕的情節發生在夏爾洛身上，最後他被提前釋放，監獄長對他說：「你自由了。」可夏爾洛卻
說：「可以在多關我幾天嗎，我待在這里很好。」也許只有在那個荒誕的年代，才有夏爾洛這樣荒誕的想法。
的確，他在外面確實還不如在監獄中，雖然獲
得了表面自由，但是他卻依然生活在一個更大的牢籠中，在這個牢籠中，有錢的人隨心所欲，無產者無家可歸。後來，夏爾洛遇到了同樣是流浪者的女主角，在一系
列奇遇後，女主角愛上了夏爾洛，他們找到了屬於自己的天堂——一個河邊的小破木屋。他們曾經也幻想過理想中的天堂，比如一個富人家的別墅中的生活，比如大
百貨商場中的快樂時光，但是這些僅僅是幻想，真正屬於他們的天堂，也僅僅是那個河邊的小破木屋，可是也只有在這里，我看到了他們從來沒有的溫馨與幸福。
影
片最後，夏爾洛和漂亮的女主角再次走在逃亡的路上，但是這一章的標題是「黎明」。我想卓別林更希望他們是走在通往黎明的道路上，夏爾洛看到女主角緊鎖著眉
頭，他告訴她應該笑，應該向著黎明微笑，這也是卓別林帶給我們一系列艱辛，悲苦，荒誕以及黑色幽默後給我們的一絲希望。
七十多年後的今天再看這部影片，絲毫也沒感到時間的流逝，今天，就在我的身邊又何嘗不是每天都在發生電影里的故事呢。也許我的周圍就有許許多多的夏爾洛，也許根本我就是夏爾洛，誰知道呢。
寫
到這里，想起影片一開始的一個片段，第一個鏡頭是許多羊群爭先恐後的擠出羊圈，隨後緊接著切入了一個許多工人下班擁擠的走出工廠的鏡頭。看到這里，我想到
了我自己，每天上下班時的地鐵站口，我隨著成千上萬的人群進進出出的場景。我認為摩登時代一開始的那兩個鏡頭完全有理由成為電影史上最偉大最經典的蒙太
奇。
正如狄更斯所言，這是最好的時代，這是最壞的時代。
Ⅶ 卓別林的電影的觀後感拜託各位大神
卓別林是20世紀享譽世界的偉大電影藝術家。他的創作跨越無聲電影和有聲電影兩個時代。一生作品或長或短，大概81部。要說他的無聲影片，影響較大的主要有：狗的生涯（1918），孩子（1921），從軍記（1918），淘金記（1925），城市之光（1931），摩登時代（1936）等等。 卓別林早期的影片多從他本人的生活經歷出發，反映社會底層的小人物的生活和奮斗。搞笑的噱頭層出不窮。那時候卓別林的電影甚至沒有劇本，演員自由發揮，打打鬧鬧，經過剪輯，就是一卷。後期的影片，卓別林開始有意識地反映社會問題，思想內容逐漸豐富，對社會的批判也趨於深刻，劇中的人物也比早期電影更有血有肉，反映的社會畫面也更為廣闊，創作的風格終於成熟起來。 卓別林的電影，可以讓人一會兒笑，一會兒哭。很多人可以在他的影片中或多或少看到自己的影子。卓別林的幽默表演，風格獨特，又符合生活邏輯，讓人百看不厭。而且他的表演風格和他要表達的思想是統一的。隨便舉個小例：在《孩子》中，卓別林出場那一段。破衣爛衫，手套露指頭。但他仍保持著優雅的舉止。充分顯示了小人物的自尊。你看他從兜里翻找煙頭，然後把手套打量一下最後扔掉那一段表演，動作穩健優美，又令人忍俊不禁。（其實不只卓別林，影片中其他演員的表演也同樣穩健優美，沒有一點多餘的動作。所有的肢體表演都是語言。如《孩子》中那個大個子警察。） 與我們今天的某些影視作品從表現手法上做個比較，有一點引起我的注意。今天的影視作品，特別喜歡用面部特寫，好像要把觀眾揪到演員臉前，好讓觀眾牢牢認住他們。舉個小例：近年拍的電視連續劇《水滸傳》，有這樣一個鏡頭：魯智深在五台山和眾僧人打起來了，鏡頭幾乎貼到魯智深演員的臉上，汗毛孔都看見了。在那種情況下，有什麼道理這樣拍攝呢？貼得那麼近，人的威武氣概怎麼表現？好多所謂城市情感劇，就更是喜歡面部特寫。而卓別林的電影，他就很少使用面部特寫。通常演員身體的2/3直至全身，都會出現在畫面上。卓別林說，我的全身都會表演。的確是這樣。這才是演員啊。 卓別林的表演，超越了所謂「性格表演」和「本色表演」的概念。他演什麼像什麼，同時又始終保持別人不能替代的風格。達到這個水準，不知道演員對生活的觀察和領悟達到了什麼樣的廣度和深度。對比一下《狗的生涯》、《淘金記》里的流浪漢和《大獨裁者》里的希克（當然後者已是有聲了）。看今天的影視作品，感覺許多大腕演什麼都是演他自己。而且題材、視野也非常有限，老是自己那個圈子裡的事。我很想知道，平時他們花多少時間拍廣告、剪綵、商演，又花多少時間深入生活？ 卓別林的無聲電影雖然沒有對白，但是演員的肢體表演輔以少許字幕，形成了一種流暢的無聲語言，一看即懂。他的影片還有另一種語言：音樂。卓別林為自己的很多影片作曲。音樂往往貫穿影片始終。而且，曲調、節奏、色彩與畫面反映的環境、人物心理完美配合。如《城市之光》。音樂不僅增強了情節的感染力，而且大大地豐富了電影的美感。先寫這幾句打住。自己的一點感受而已。受專業和知識水平限制，也只好這樣，參與一下。奢望方家有以教之。
Ⅷ 跪求卓別林《城市之光》的影評
"You can see now?"
"Yes, I can see now."
一個潦倒的流浪漢愛上了失明的賣花姑娘，一個不太現實的愛情故事經過卓別林獨到的演繹的讓人涕淚交加，大師就是大師，舉手投足皆是戲；沒有對白，完全依靠角色的表演和精彩的配樂，影片的魅力卻絲毫不遜色於現代的有聲電影。
電影中主角的出場堪稱經典，本該嚴肅正式的雕塑揭幕典禮，卻被一個藏在布下的流浪漢攪得難以收場，卓別林扮演的流浪漢在人群上方閑庭信步，下面的官僚和紳士們急得手足無措，亦庄亦諧的對比不得不讓人佩服卓別林的的偉大之處：關注社會底層的小人物，士商權貴皆是陪襯，忠於平民才是忠於藝術。
影片中出現的形形色色的各種角色都是那個時代社會的縮影。主角雖身份低賤，被取笑，被欺負，被拋棄，被冤枉，卻無時無刻不保持著自己的尊嚴，一根不離手的拐棍，和一頂不太協調的禮帽，滑稽卻讓人敬畏。而那些所謂的文明的人卻利慾兩心，雖穿著光鮮，卻讓人鄙視，一對比，強烈的喜劇效果就出來了。片中的流浪漢一如鏡頭外的卓別林。
影片的結尾讓人感動的掉淚，主角歷經牢獄，重回街頭，連那根維持最後尊嚴的拐棍都丟失了，潦倒不堪，卻巧合般在轉角遇見那位他為全力相助而入獄的賣花姑娘。從取笑他，到同情施捨，再到認出恩人的瞬間，幾分鍾的戲道盡了人生百味。社會險惡，愛情美妙，或許影片想告訴我們也許生活不值得自豪，現實讓人可笑，但是總有值得去期待，去付出的美好。
P.S.向好萊塢的那個黃金年代致敬
500咯~希望有幫到你。
Ⅸ 求一篇關於卓別林電影《城市之光(city lights)>的英文觀後感，100多字就行了。英文不好，555555- -,,,,,
If I were the writer,I would changed a paragraph that implied the girl's dreams were dashed upon realizing her benefactor was a tramp. I don't think it mattered either way to her. I think she was just happy to finally meet the de, and maybe a little surprised that her de was a man of such modest means. At any rate, she was touched and joyful... nothing dashed or disappointed about it.
I think part of the greatness of the ending is its openness to more than one interpretation. I can see how it could be read as joyful. But personally, I see it as a crushingly sad ending-- Chaplin says, "You can see now?" She replies, "Yes, I can see," and the screen goes black, implying (to me) that any hopes the tramp had for them were ended when he gave her sight, and he knew it. It was a gesture of self-sacrifice on more than one level.
But regardless, the article should probably just describe what happens without putting an interpretation on it. I think it's fine as it stands.
Ⅹ 誰能幫忙寫一下卓別林電影的觀後感
<<城市之光>>觀後感
很久以前就知道卓別林是電影史上最偉大的藝術大師,但是一直沒機會看到他的作品,我覺得他的作品都是無聲黑白電影,現在的電影製作如此先進,這種黑白電影怕已經只能做古董了.
但是,當盧老師給我們放了<<城市之光>>之後,我發現我犯了個大錯誤,
我忘記了一個詞的含義:經典!真正的經典不怕時間的流失而造成作品的被遺忘,相反,就是歲月的淘煉讓經典作品在歷史的長河中留下了永久的影象!
卓別林不愧是最偉大的電影藝術大師!
但是,在看電影的時候,我的腦海里一直有一個名字在跳動:周星馳!我把著兩個人放在一起,並不是說認為周的水平可以與卓別林相提並論,就星爺目前的成就來看,不存在這種可能,以後應該也不會.但周可以認為是卓別林的一個後輩,學生.兩個人的作品風格有相同之處．
兩人使用的表現形式非常接近：通過小人物的眼睛來看這個社會，通過小人物的故事來透視主流社會容易忽略、甚至故意迴避的低層社會弱勢群體的社會生態。都讓人有一種辛酸的笑聲。
但卓別林畢竟是大師，他的作品，集創造性、藝術性、可信性、社會性於一身，渾然一體，天衣無縫，是社會各方都可以接受的精品，而周星馳，良莠不齊，有很多精品，但是也有很多粗製濫造，商業化氣息濃重的作品；有的作品，尤其是早期的作品格調底下，惡搞媚俗。我想這也和香港的電影環境有關，不是他一個人的問題。