俠盜羅賓漢電影英文

❶ 求書蟲系列的《俠盜羅賓漢》的主要內容！最好是英文的！！！！！！！急急急急急急急急急！

回到英國故鄉的羅賓非常興奮，途中，為了解救一名被軍士追殺的窮孩子，羅賓殺死了咸諾頓郡長的手下並得罪了郡長的表弟。其實，早在羅賓回家之前，殘忍的郡長已用信奉魔鬼的罪名治死了羅賓的父親洛士利。羅賓只能離開自家的庄園，他發誓要為父報仇。當他來到難友之妹李察王的親戚瑪利亞處時，瑪莉亞卻還把他當作少年惡少。 一次，在逃避郡長表弟的追殺中，羅賓與亞森躲入了舒洛森林，在那裡，他們遭遇上了一夥窮人強盜，一番沖突後，羅賓以自己的英勇感染了他們並與他們成了好朋友。於是，已成了被郡長通緝的罪犯的羅賓放棄了貴族的身份，開始組織這批走投無路的農民進行操練來反抗郡長的殘暴統治了。此後不久，舒洛森林成了貴族富人們的地獄，起義的農民軍在不長的時間里搶劫了無數財寶，其中包括郡長企圖用來收買人心以謀篡位的一大箱金錢。飢餓的農民們分享著勝利的果實，他們更為愛戴年輕的領袖羅賓漢了。一次，瑪莉亞偶然經過舒洛森林並遭遇上了農民起義軍。從羅賓口中，她獲知了郡長企圖篡位的陰謀，在這次短暫的接觸中，她已看到了一個嶄新的羅賓形象並對他也漸漸產生了好感。 屢次遭劫卻又逮不住羅賓的郡長火冒三丈，他又去向女巫求救。丑惡陰毒的女巫指點他盡快僱傭野蠻人去舒洛森林圍殲農民起義軍，並要郡長去劫持理查王的表親瑪莉亞並與之成婚生子，以便名正言順地搶奪王位。 殘暴的郡長帶人圍住了舒洛森林，他們用火猛攻農民軍。一場激戰後，農民軍寡不敵眾，多數被俘。回到城堡的郡長一面毒打農民軍並四處尋找羅賓的蹤跡，一面又用撿來的羅賓的頸鏈謊稱羅賓已死，去誘欺已被劫持的瑪莉亞，悲痛的瑪莉亞在無奈中被迫答應與郡長成婚。歹毒的郡長准備在其成婚典型上弔死農民軍，這一消息被尚存的羅賓等人獲悉，他們七個人開始組織謀劃，准備行動了。 羅賓等人混入守備森嚴的郡長城堡，在執行吊刑時，他們突然行動，令敵人措手不及。瑪莉亞看到羅賓還活著，拚死不願與郡長成婚，瘋狂的郡長企圖草草舉行結婚儀式並企圖強奸瑪莉亞。危急中，羅賓趕到，一番搏鬥後，他終於殺死了暴戾成性的郡長並率領平民們攻下了整個城堡。 羅賓漢和農民起義軍們來到舒洛森林，在修士正為他和瑪莉亞舉行的結婚典禮上，國王理查出人意料地來到，他當場充作主婚人，在眾人的歡呼聲中，祝福倆人永遠幸福美滿。

❷ 關於羅賓漢的英文簡介

下面主要從影片的內容進行介紹：

The movie "Robin Hood" focuses on Robin Hood's life experience before becoming a legend and legend. It tells the legendary story of how he changed from an outsider to a national hero, and how he changed from a national hero to a thief.

對照譯文：《羅賓漢》影片聚焦於羅賓漢成為傳奇和傳說前的生活經歷，講述了他是如何從法外之徒變為國家英雄，又是如何從國家英雄變為俠盜的傳奇故事。

影片評價：

該片宣傳看點是史詩動作片，可是事實上是改編了很多歷史，最後作為高潮的海灘交戰，場面不夠宏大，萬箭齊發的套路中國影迷在張藝謀的《英雄》領教過了，沒有太多的驚喜感。對於男主角羅賓漢，文戲的光芒蓋過了武戲，雖然文的合情合理，可是影迷依然想看的是酣暢淋漓地痛揍敵人，妙語連珠的幽默橋段，充滿邪氣而正義感十足的「不法分子」羅賓漢。

年過40歲的拉塞爾作為奧斯卡最佳男主角，並非是他演技的問題，而是劇情安排的問題。活活把一個浪子改變成了忠厚、負責、還能持家的好男人。

❸ 俠盜羅賓漢的簡介

鏈接：https://pan..com/s/1-e8GO8lAn4CVI3072YWthw

提取碼：vf3u
睡前故事世界著名童話故事-俠盜羅賓漢，在英國的傳說中，羅賓漢的名字是極為響亮的。有些學者認為羅賓漢是中世紀綠林好漢的化身，還有學者認為這些民間故事完全出自人們的想像。他的傳奇有多種說法，大致是說在12～13世紀著名的十字軍東征的時候，英格蘭的理查王被俘，留在國內的約翰王子趁機篡權，拒絕贖回理查王。而與他狼狽為奸的諾丁漢郡長也趁機強佔了忠心於理查王的羅賓漢家的領地，更試圖染指他的心上人瑪麗安。羅賓漢被迫躲進舍伍德森林，以此為基地，領導一支農民起義軍到處劫富濟貧，最終成功贖回理查王，粉碎了約翰王子等人的陰謀。羅賓漢最突出的就是射箭術高超。據介紹，現在射箭比賽里就有「羅賓漢」這一術語，指射中另一支已中靶心的箭。

❹ 俠盜羅賓漢英語資料 快啊啊啊啊啊啊

Robin Hood

Robin Hood memorial statue in Nottingham.Robin Hood is the archetypal English folk hero; a courteous, pious and swashbuckling outlaw of the medieval era who, in modern versions of the legend, is famous for robbing the rich to feed the poor and fighting against injustice and tyranny. Robin was not a real person who lived, he was a fictional character and still is one. He operates with his "seven score" (140 strong) group of fellow outlawed yeomen – called his "Merry Men".[1] Robin Hood and his band are usually associated with Sherwood Forest, Nottinghamshire. He has been the subject of numerous movies, books, comics and plays.

In many stories Robin's nemesis is the Sheriff of Nottingham. In the oldest legends, this is merely because a sheriff is an outlaw's natural enemy,[2] but in later versions, the despotic sheriff gravely abuses his position, appropriating land, levying intolerable taxation, and unfairly persecuting the poor. In some tales the antagonist is Prince John, based on John of England, seen as the unjust usurper of his pious brother Richard. In the oldest versions surviving, Robin Hood is a yeoman, but in some versions he is said to have been a nobleman, the earl of Loxley (Locksley), who was unjustly deprived of his lands.[3] Sometimes he has served in the crusades, returning to England to find his lands pillaged by the dastardly sheriff. In some tales he is the champion of the people, fighting against corrupt officials and the oppressive order that protects them, while in others he is an arrogant and headstrong rebel, who delights in bloodshed, cruelly slaughtering and beheading his victims.

In point of fact, Robin Hood stories are different in every period of their history. Robin himself is continually reshaped and redrawn, made to exemplify whatever values are deemed important by the storyteller at the time. The figure is less a personage and more of an amalgam of the various ideas his "life" has been structured to support.

Contents [hide]
1 Early references
2 Sources
3 Ballads and tales
4 Connections to existing locations
5 List of traditional ballads
6 Popular culture
7 Bibliography
8 Notes
9 See also
10 External links

[edit] Early references
From 1227 onwards the names 'Robinhood', 'Robehod' or 'Hobbehod' occur in the rolls of several English justices. The majority of these references date from the late thirteenth century: between 1261 and 1300 there are at least eight references to 'Rabunhod' in various regions across England, from Berkshire in the south to York in the north.[4] The term seems to be applied as a form of shorthand to any fugitive or outlaw. Even at this early stage, the name Robin Hood denotes an archetypal criminal. This usage continues throughout the medieval period. In a petition presented to Parliament in 1439, the name is again used to describe an itinerant felon. The petition cites one Piers Venables of Aston, Derbyshire, "who having no liflode, ne sufficeante of goodes, gadered and assembled unto him many misdoers, beynge of his clothynge, and, in manere of insurrection, wente into the wodes in that countrie, like as it hadde be Robyn Hude and his meyne."[5] The name is still used to describe sedition and treachery in 1605, when Guy Fawkes and his associates are branded "Robin Hoods" by Robert Cecil.

The first allusion to a literary tradition of Robin Hood tales occurs in William Langland's Piers Plowman (c.1362–c.1386) in which Sloth, the lazy priest, confesses: "I kan [know] not parfitly [perfectly] my Paternoster as the preest it singeth,/ But I kan rymes of Robyn Hood".[6]

The first mention of a quasi-historical Robin Hood is given in Andrew of Wyntoun's Orygynale Chronicle, written about 1420. The following lines occur with little contextualisation under the year 1283:

Lytil Jhon and Robyne Hude
Wayth-men ware commendyd gude
In Yngil-wode and Barnysdale
Thai oysyd all this tyme thare trawale.
The next notice is a statement in the Scotichronicon, composed by John Forn between 1377 and 1384, and revised by his pupil Walter Bower in about 1440. Among Bower's many interpolations is a passage which directly refers to Robin. It is inserted after Forn's account of the defeat of Simon de Montfort and the punishment of his adherents. Robin is in fact turned into a fighter for de Montfort's cause, one of his 'disinherited' followers:[7]

Then [c.1266] arose the famous murderer, Robert Hood, as well as Little John, together with their accomplices from among the disinherited, whom the foolish populace are so inordinately fond of celebrating both in tragedies and comedies, and about whom they are delighted to hear the jesters and minstrels sing above all other ballads.
Despite Bower's scorn, and demotion of Robin to a savage 'murderer', his account is followed by a brief tale in which Robin becomes a symbol of piety, gaining a decisive victory after hearing the Mass. Another interesting, although much later, reference is provided by Thomas Gale, Dean of York (c.1635–1702):[8]

[Robin Hood's] death is stated by Ritson to have taken place on the 18th of November, 1247, about the eighty-seventh year of his age; but according to the following inscription found among the papers of the Dean of York…the death occurred a month later. In this inscription, which bears evidence of high antiquity, Robin Hood is described as Earl of Huntington — his claim to which title has been as hotly contested as any disputed peerage upon record.
Hear undernead dis laitl stean
Lais Robert Earl of Huntingtun
Near arcir der as hie sa geud
An pipl kauld im Robin Heud
Sic utlaws as hi an is men
Vil England nivr si agen.
Obiit 24 Kal Dekembris 1247
This inscription also appears on a grave in the grounds of Kirklees Priory near Kirklees Hall (see below). Despite appearances, and the author's assurance of 'high antiquity', there is little reason to give the stone any credence. It certainly cannot date from the 13th century; notwithstanding the implausibility of a 13th century funeral monument being composed in English, the language of the inscription is highly suspect. Its orthography does not correspond to the written forms of Middle English at all: there are no inflected '—e's, the plural accusative pronoun 'hi' is used as a singular nominative, and the singular present indicative verb 'lais' is formed without the Middle English '—th' ending. Overall, the epitaph more closely resembles modern English written in a deliberately 'archaic' style. Furthermore, the reference to Huntingdon is anachronistic: the first recorded mention of the title in the context of Robin Hood occurs in the 1598 play The Downfall of Robert, Earl of Huntington by Anthony Munday. The monument can only be a 17th century forgery.

Therefore, even in the earliest records, Robin is already largely fictional. The Gale note is literally a fiction. The medieval texts do not refer to him directly, but mediate their allusions through a body of accounts and reports: for Langland Robin exists principally in "rimes", for Bower "comedies and tragedies", while for Wyntoun he is "commendyd gude". Even in a legal context, where one would expect to find verifiable references to Robin, he is primarily a symbol, a generalised outlaw-figure rather than an indivial. Consequently, in the medieval period itself, Robin Hood already belongs more to literature than to history. In fact, in an anonymous carol of c.1450, he is treated in precisely this manner — as a joke, a figure that the audience will instantly recognise as imaginary: "He that made this songe full good,/ Came of the northe and the sothern blode,/ And somewhat kyne to Robyn Hode".[9]

[edit] Sources
On the other hand, even though clearly fictitious, Robin does not appear to have stemmed from mythology or folklore. While there are occasional efforts to trace him to fairies (such as Puck under the alias "Robin Goodfellow") or other mythological origins, good evidence for this has not been found, and when Robin Hood has been connected to such folklore, it is a later development.[10] While Robin Hood and his men often show improbable skill in archery, swordplay, and disguise, they are no more exaggerated than those characters in other ballads, such as Kinmont Willie, which were based on historical events.[11] The origin of the legend appears to have stemmed from actual outlaws, or from tales of outlaws, such as Hereward the Wake, Eustace the Monk, and Fulk FitzWarin.[12]

There are many analogues for various Robin Hood tales, featuring both historical and fictitious outlaws. Hereward appears in a ballad much like Robin Hood and the Potter, and as the Hereward ballad is the older, it appears to be the source. The ballad Adam Bell, Clym of the Cloughe and Wyllyam of Cloudeslee runs parallel to Robin Hood and the Monk, but it is not clear whether either one is the source for the other, or whether they merely show that such tales were told of outlaws.[13] Some early Robin Hood stories appear to be unique, such as the story where Robin gives a knight, generally called Richard at the Lee, money to pay off his mortgage to an abbot, but this may merely indicate that no parallels have survived.[14]

[edit] Ballads and tales
The earliest surviving Robin Hood text is "Robin Hood and the Monk".[15] This is preserved in Cambridge University manuscript Ff.5.48, which was written shortly after 1450.[16] It contains many of the elements still associated with the legend, from the Nottingham setting to the bitter enmity between Robin and the local sheriff.

Also in manuscript is A Gest of Robyn Hode (c.1475), a collection of separate stories which attempts to unite the episodes into a single continuous narrative.[17] After these come "Robin Hood and the Potter",[18] contained in a manuscript of c.1503. "The Potter" is markedly different in tone from "The Monk": whereas the earlier tale is 'a thriller'[19] the latter is more comic, its plot involving trickery and cunning rather than straightforward force. The difference between the two texts recalls Bower's claim that Robin-tales may be both 'comedies and tragedies'. Other early texts are dramatic pieces such as the fragmentary Robyn Hod and the Shryff off Notyngham[20] (c.1472). These are particularly noteworthy as they show Robin's integration into May Day rituals towards the end of the Middle Ages.

It is interesting to compare the character of Robin in these first texts to his later incarnations. While in modern stories Robin Hood typically pursues justice, and the Merry Men are almost a proto-democracy, this sense of generosity and egalitarianism is absent from the medieval and Early Modern sources. Robin is often presented as vengeful and self-interested, meting out barbaric punishments to his own enemies, but rarely fighting on the behalf of others. Nothing is stated about 'giving to the poor', although Robin does make a large loan to an unfortunate knight.[21] Furthermore, even within his band, ideals of equality are generally not in evidence. In the early ballads Robin's men usually kneel before him in strict obedience: in the Gest the king even observes that "His men are more at his byddynge/Then my men be at myn". Their social status, as yeomen, is shown by their weapons; they use swords rather than quarterstaffs. The only character to use a quarterstaff in the early ballads is the potter, and Robin Hood does not take to a staff until the eighteenth century Robin Hood and Little John.[22] And rather than being deprived of his lands by the villainous Sheriff of Nottingham, when an origin for Robin appears, he takes to 'the greenwood' after killing royal foresters for mocking him (see Robin Hood's Progress to Nottingham).

While he is sometimes described as a figure of peasant revolt, the details of his legends do not match this. He is not a peasant but a yeoman, and his tales make no mention of the complaints of the peasants, such as oppressive taxes.[23] He appears not so much as a revolt against societal standards as an embodiment of them, being generous, pious, and courteous, opposed to stingy, worldly, and churlish foes. His tales glorified violence, but did so in a violent era.[24] While he fights with royal officials, his loyalty to the king himself is strong.[25]

Although the term "Merry Men" belongs to a later period, the ballads do name several of Robin's companions.[26] These include Will Scarlet (or Scathlock), Much the Miller's Son, and Little John — who was called "little" as a joke, as he was quite the opposite.[27] Even though the band is regularly described as being over a hundred men, usually only three or four are specified. Some appear only once or twice in a ballad: Will Stutly in Robin Hood Rescuing Will Stutly and Robin Hood and Little John; David of Doncaster in Robin Hood and the Golden Arrow; Gilbert with the White Hand in A Gest of Robyn Hode; and Arthur a Bland in Robin Hood and the Tanner.[28] Many later adapters developed these characters. Guy of Gisbourne also appeared in the legend at this point, as was another outlaw Richard the Divine who was hired by the sheriff to hunt Robin Hood, and who dies at Robin's hand.[29]

Printed versions of the Robin Hood ballads, generally based on the Gest, appear in the early 16th century, shortly after the introction of printing in England. Later that century Robin is promoted to the level of nobleman: he is styled Earl of Huntington, Robert of Locksley, or Robert Fitz Ooth. In the early ballads, by contrast, he was a member of the yeoman classes, a common freeholder possessing a small landed estate. [30]

In the fifteenth century, Robin Hood became associated with May Day celebrations; people would dress as Robin or as other members of his band for the festivities, a practice that was not engaged in all England, but which lasted until Elizabethean times, and ring the reign of Henry VIII, was briefly popular at court.[31] This often put the figure in the role of a May King, presiding over games and processions, but plays were also performed with the characters in the roles.[32] These plays could be enacted at "church ales", a means by which churches raised funds.[33] A complaint of 1492, brought to the Star Chamber, accuses men of acting riotously by coming to a fair as Robin Hood and his men; the accused defended themselves on the grounds that the practice was a long-standing custom to raise money for churches, and they had not acted riotously but peaceably.[34]

It is from this association that Robin's romantic attachment to Maid Marian (or Marion) stems. The naming of Marian may have come from the French pastoral play of c. 1280, the Jeu de Robin et Marion, although this play is unrelated to the English legends.[35] Both Robin and Marian were certainly associated with May Day festivities in England (as was Friar Tuck), but these were originally two distinct types of performance — Alexander Barclay, writing in c.1500, refers to "some merry fytte of Maid Marian or else of Robin Hood" — but the characters were brought together.[36] Marian did not immediately gain the unquestioned role; in Robin Hood's Birth, Breeding, Valor and Marriage, his sweetheart is 'Clorinda the Queen of the Shepherdesses'.[37] Clorinda survives in some later stories as an alias of Marian..[38]

The first allusions to Robin Hood as stealing from the rich and giving to the poor appear in the 16th century. However, they still play a minor role in the legend; Robin still is prone to waylaying poor men, such as tinkers and beggars.[39]

In the 16th century, Robin Hood is given a specific historical setting. Up until this point there was little interest in exactly when Robin's adventures took place. The original ballads refer at various points to 'King Edward', without stipulating whether this is Edward I, Edward II, or Edward III.[40] Hood may thus have been active at any point between 1272 and 1377. However, ring the 16th century the stories become fixed to the 1190s, the period in which King Richard was absent from his throne, fighting in the crusades.[41] This date is first proposed by John Mair in his Historia Majoris Britanniæ (1512), and gains popular acceptance by the end of the century.

Giving Robin an aristocratic title and female love interest, and placing him in the historical context of the true king's absence, all represent moves to domesticate his legend and reconcile it to ruling powers. In this, his legend is similar to that of King Arthur, which morphed from a dangerous male-centered story to a more comfortable, chivalrous romance under the trobadours serving Eleanor of Aquitaine. From the 16th century on, the legend of Robin Hood is often used to promote the hereditary ruling class, heterosexual romance, and religious piety. The "criminal" element is retained to provide dramatic colour, rather than as a real challenge to convention.[42]

The seventeenth century introced the minstrel Alan-a-Dale. He first appeared in a seventeenth century broadside ballad, and unlike many of the characters thus associated, managed to adhere to the legend.[43] This is also the era in which the character of Robin became fixed as stealing from the rich to give to the poor.[44]

In the 18th century, the stories become even more conservative, and develop a slightly more farcical vein. From this period there are a number of ballads in which Robin is severely "drubbed" by a succession of professionals, including a potter, a tanner, a tinker and a ranger.[45] In fact, the only character who does not get the better of Hood is the luckless Sheriff. Yet even in these ballads Robin is more than a mere simpleton: on the contrary, he often acts with great shrewdness. The tinker, setting out to capture Robin, only manages to fight with him after he has been cheated out of his money and the arrest warrant he is carrying. In Robin Hood's Golden Prize, Robin disguises himself as a friar and cheats two priests out of their cash. Even when Robin is defeated, he usually tricks his foe into letting him sound his horn, summoning the Merry Men to his aid. When his enemies do not fall for this ruse, he persuades them to drink with him instead.

The continued popularity of the Robin Hood tales is attested by a number of literary references. In As You Like It, the exiled ke and his men "live like the old Robin Hood of England", while Ben Jonson proced the (incomplete) masque The Sad Shepheard, or a Tale of Robin Hood[46] as a satire on Puritanism. Somewhat later, the Romantic poet John Keats composed Robin Hood. To A Friend[47] and Alfred Lord Tennyson wrote a play The Foresters, or Robin Hood and Maid Marian,[48] which was presented with incidental music by Sir Arthur Sullivan in 1892. Later still, T. H. White featured Robin and his band in The Sword in the Stone — anachronistically, since the novel's chief theme is the childhood of King Arthur.[49]

The Victorian[50] era generated its own distinct versions of Robin Hood. The traditional tales were often adapted for children, most notably in Howard Pyle's Merry Adventures of Robin Hood. These versions firmly stamp Robin as a staunch philanthropist, a man who takes from the rich to give to the poor. Nevertheless, the adventures are still more local than national in scope: while Richard's participation in the Crusades is mentioned in passing, Robin takes no stand against Prince John, and plays no part in raising the ransom to free Richard. These developments are part of the 20th century Robin Hood myth. The idea of Robin Hood as a high-minded Saxon fighting Norman Lords also originates in the 19th century. The most notable contributions to this idea of Robin are Thierry's Histoire de la Conquête de l'Angleterre par les Normands (1825), and Sir Walter Scott's Ivanhoe (1819). In this last work in particular, the modern Robin Hoo

❺ 俠盜羅賓漢的中英文對照急~~~

http://www.xiaopian.com/html/gndy/jddy/20090519/18911.html

❻ 哪裡可以看bbc的《俠盜羅賓漢》

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《俠盜王子羅賓漢》是由凱文·雷諾茲執導，凱文·科斯特納、瑪麗·伊麗莎白·馬斯特蘭托尼奧、摩根·弗里曼等主演的動作片。該片於1991年6月14日上映。

影片講述了英國人羅賓受獄友所託尋找瑪莉亞，在逃亡途中行俠仗義，聯合受壓迫的人們，共同推翻郡長殘暴統治的故事。

如果資源不正確，或者版本不正確，歡迎追問

❼ 關於電影羅賓漢

凱文·科斯特納英文名：KEVINCOSTNER

出生年：1955年

生日：1月18日

性別：男

地域：歐美

職業：演員，導演

國籍：美國

1955年1月18日出生於美國加利福尼亞州洛杉磯。美國著名的電影演員，導演和製片人。在其高中他是一位出色的運動員，凱文.科斯特納曾經考慮成為一名職業籃球運動員，但實際報考了加利弗尼亞大學「CaliforniaStateUniversity」。1978年畢業得到行銷學學位。

早期較為著名的影片有《TheBigChill》1983和《Silverado》1985兩部影片。

1987年凱文科斯特納又出演了影片《鐵面無私》《TheUntouchables》。在片中他飾演了一位查禁私酒的聯邦官員。其出色的表現開始引起人們的注目。之後他又主演了影片《德拉姆牛》（《BullDurham》1988）和《FieldofDreams》(1988)，也都有著相當不錯的表現。

1990年，凱文科斯特納首次擔任導演和製片，拍攝了史詩作品《與狼共舞》，並飾演男主角鄧巴中尉。該片表現出凱文的出手不凡的大手筆。影片一共獲得了十二項奧斯卡獎提名並最終獲得了七項大獎。凱文科斯特納初次執導影片，便獲得了最佳導演獎，但他的演技也同樣獲得了人們的一致贊譽。

此後，凱文科斯特納又製作了一系列成功的影片。影壇一片叫好，這也證明了他的成功並非偶然。在《刺殺肯尼迪》（《JFK》1991）和融一切浪漫史詩元素於一體的《俠盜羅賓漢》(《RobinHood:PrinceofThieves》1991)中，他都有著相當不錯的表現，得到了影壇的普遍贊譽。

而在此之後的《保鏢》（《TheBodyguard》1992）、《完美的世界》（又譯《完美新世界》）（《APerfectWorld》1993）和《WyattEarp》(1994)、《TheWar》（1994）等影片中，他的才華和能力也都得到了充分的展現。

1995年，凱文科斯特納又製作和主演了影片《未來水世界》。這是電影史上耗資最巨的影片，製作費用接近兩億美元。影片場面十分宏偉壯觀，是該年反響最為強烈的影片之一。同時，影片的拍攝難度也是十分罕見的，各種困難和挫折層出不窮，但凱文科斯特納終於憑借著他那堅毅頑強的性格和作風高質量地完成了影片的拍攝製作。

這部電影現在看來是一部融視覺震撼和思想內涵於一體的傑作，不過可能出現在20世紀90年代過於超前了，所謂生不逢時，當時的票房和口碑都虧待了這部優秀作品。值得欣慰的是，進入21世紀之後，《未來水世界》終於作為一部史詩級的科幻影片，贏得了它早應得到的欣賞和尊重。（由LJX補充）

在1996年，他又推出了影片《錫杯》(《TinCup》1996)，再次引起不俗的反響。凱文科斯特納不僅是一位才華橫溢的電影大師，也是一個在生活中真正堅持原則的人。他關心和同情身處困境的努力奮斗的人們，並且樂意幫助他們。在老一輩影星中凱文科斯特納最欣賞的就是以質朴聞名的亨利方達。他稱贊亨利方達的彬彬有禮、真摯熱情和質朴純真。而事實上，他自己也同樣做到了。

2009年凱文科斯特納在《新女兒》（TheNewDoughter}飾演約翰詹姆斯，一個單身的父親帶著他的兩個孩子和離婚後的痛苦搬到了鄉村的一個房子里。很快，他的年長的女兒開始出現奇怪的行為，家庭被令人不安的事件所困擾。約翰開始懷疑，那個神秘的森林邊緣可能和他女兒的預示的行為有關。喜歡凱文的一定要支持他的新片！

詳情參考網路

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❽ 《羅賓漢》故事英語主要內容

During the famous Crusades in the 12th and 13th centuries, King Richard of England was captured. Prince John, who stayed in England, opportunity to usurp power and refused to redeem him.

在12～13世紀著名的十字軍東征的時候，英格蘭的理查王被俘，留在國內的約翰王子趁機篡權，拒絕贖回理查王。

The Sheriff of Nottingham, who was in collusion with him, also seized the territory of Robin Hood's family, who was loyal to King Richard, and get in touch with his sweeteart Marianne.

而與他狼狽為奸的諾丁漢郡長也趁機強佔了忠心於理查王的羅賓漢家的領地，更試圖染指他的心上人瑪麗安。

Robin Hood was forced to hide in Sherwood and led a peasant army to rob the rich help the poor . Finally, he successfully King Richard and smashed the conspiracy of Prince John and others.

羅賓漢被迫躲進舍伍德森林，領導一支農民起義軍到處劫富濟貧，最終成功贖回理查王，粉碎了約翰王子等人的陰謀。

(8)俠盜羅賓漢電影英文擴展閱讀

翻譯技巧：

1、詞義轉譯。當我們遇到一些無法直譯或不宜直譯的詞或片語時，應根據上下文和邏輯關系，引申轉譯。

2、轉譯成動詞。英語中的某些名詞、介詞、副詞，翻譯時可轉譯成漢語中的動詞。

3、轉譯成形容詞。英語中有些作表語或賓語的抽象名詞，以及某些形容詞派生的名詞，往往可轉譯成漢語中的形容詞。

❾ 俠盜羅賓漢讀後感英漢對照急求

羅賓漢是傳說中的英國逃犯。有些人認為他是一個真實的人，但大多數人不相信。在故事中，羅賓漢和他的快樂追隨者們住在諾丁漢郡的舍伍德森林。他們穿著綠色套裝，戴著尖頂帽子，而且很快樂，很大膽。羅賓漢和他的部下進行了許多令人興奮的冒險。快樂的人搶劫富人，把錢給窮人。羅賓漢與諾丁漢的治安官作了斗爭，諾丁漢是一個腐敗的官員，他對待窮人很壞。所以他成了平民的英雄。羅賓漢是個偉大的弓箭手。他從未錯過目標。他化裝成許多不同的樣子周遊全國，所以沒人知道他是誰。每當羅賓漢遇到麻煩時，他都會吹響號角，他的手下也會來幫助他。
塔克修士、小約翰和瑪麗安女僕是他樂隊最著名的成員。塔克修士是個肥胖、快樂的牧師。小約翰身高超過7英尺，以弓和箭的高超技藝而聞名。女僕瑪麗安是羅賓漢的心上人。
盡管羅賓與地主、教會領袖和政府官員打架搶劫，但他和他的樂隊尊重統治國王理查德一世。在許多故事中，國王偽裝成自己，加入歡樂的人們，以俘獲羅賓。但王發現羅賓漢和他的同伴是可敬的人，就赦免了他們。
Robin Hood was a legendary English outlaw. Some people believe he was a real person but most do not. In the story, Robin Hood lived with his band of merry followers in Sherwood Forest in Nottinghamshire. They wore green suits and pointed caps, and they were gay and bold. Robin Hood and his men had many exciting adventures. The Merry Men robbed the rich and gave money to the poor. Robin Hood fought the sheriff of Nottingham, a corrupt official who treated the poor badly. So he became a hero of the common people. Robin Hood was a great archer. He never missed his target. He travelled around the country in many different disguises so that no one knew who he was. Whenever Robin Hood got into trouble he would blow his horn and his men would come to help him.
Friar Tuck, Little John, and Maid Marian were the best-known members of his band. Friar Tuck was a fat, jolly priest. Little John stood more than 7 feet tall and was known for his great skill with a bow and arrow. Maid Marian was Robin Hood』s sweetheart.
Although Robin fought and robbed landowners, church leaders and government officials, he and his band respected the ruling king, RichardⅠ。 In many stories, the king disguised himself and joined the Merry Men, in order to capture Robin. But the king then discovered that Robin Hood and his fellows were honourable people and pardoned them.