挥手电影完整版

1. 介绍一下李安的电影《推手》

就不复制一大堆资料了，给你个新浪娱乐资料的链接，对这部电影介绍的还比较详细。

http://ent.sina.com.cn/m/2006-07-21/15481166945.html

2. 李安的 电影 推手 英文字幕

去射手网 直接下载字幕然后放进去就ok了

那个里面什么字幕都有

http://www.shooter.cn/
这个是网址 进去你把你看的电影名字输进去就ok了

3. 电影《推手》的英文介绍

Master Chu, a retired Chinese Tai-Chi master, moves to Westchester, New York to live with his son Alex, his American daughter-in-law Martha, and their son Jeremy. However, Martha's second novel is suffering from severe writers' block brought on by Chu's presence in the house. Alex must struggle to keep his family together as he battles an inner conflict between cultural tradition and his modern American lifestlye. Written by Kathy Li

Sihung Lung, the actor who played Master Chu, the aging tai chi master, gave a very convincing and sincere performance in this film. It was no wonder that he won the Golden Horse (Taiwan's equivalent for the Oscars) for Best Actor in this film. His performance was extremely touching, as tears jerked into my eyes as I see an aging and traditional Chinese father trying to get along with his westernized family while also trying to adjust to life in a new place and culture. The film encourages people, especially new immigrants, to emphasize and put themselves in their parents' shoes. Try to understand how difficult it is for them to come and settle in a new place and try not to push them away. Be patient with them, take a step back and everything may be better.

The movie title, "Pushing Hands", is very appropriate, as this is the term for an exercise in tai chi in which a person achieves balance by giving up balance. In this non-aggressive exercise between 2 people, a person offers no resistance at all to the pressure or push that the other person is exerting and keeps borrowing this strength until they feel they have fused into one and thus have achieved harmony. This was what Master Chu did. Although his daughter-in-law kept misunderstanding him, causing much discontent and eventually got his son to try to sent him away, he offered no resentment or a temper tantrum. He simply walked away gracefully. This action caused his son to appreciate him and remember why he got his father to live together in the first place in a tear jerking scene and finally they worked out a solution. They decided to give each other space by living separately instead of pushing each other away. In the end everyone was much happier, as even the daughter-in-law learned to accept the father, symbolized by her decorating the guest room for him and asking the question if he would ever visit. The father achieved the balance that he seek in Tai-Chi.

Ang Li is simply amazing and sensational. He did what he could with the limited budget and created a very warm and tear jerking film. Although this film was not the highest quality (the version I saw was very unclear and skips sometimes) and it could feel slow at times, especially the beginning sequence, the film was a great work in directing. The film picked up its pace after the slow beginning without any big fighting scenes or explosions and never felt boring afterwards. Also, from the beginning sequence, where he was able to show the dissension and gap between the daughter-in-law and the father by using just different scenes and visuals, to scenes throughout the film where he used lighting and different camera angles to show the internal pain and sadness that the father experience, it was, simply put, a great piece of art considering the budget. It showcased the talent of Li and gave the audience a glimpse of the man who would bring us the memorable Couching Tiger, Hidden Dragon.

4. 跪求李安电影《喜宴》《推手》《饮食男女》高清

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《推手》是由李安执导，郎雄、王莱主演的剧情片，于1991年12月7日在中国台湾上映。该片讲述了朱老退休后被儿子接到美国生活，由于他语言不通、生活习惯与孩子们不同，而引发家庭矛盾的故事。

5. 《推手》你还记得这部剧呢

决定一个电影究竟是不是好电影的条件只有两个。第一，要有一个好故事；第二，导演要有讲故事的能力。电影艺术在这方面和文学艺术有着极大的相同。因为他们的最终目的都是要通过画面或是文字传达创出作者的情感，得到观者或是读者的共鸣。有好故事是基础，而练就出有效而艺术的表达方式更需要个人水平。李安大概很早便悟出了这一点，在消沉的十几年中，他每天能做的就是反复思考，创作并修改剧本。等待别人提供出好故事不如自己先创作出好故事。而在脑海中不断思考并放映自己的好故事则锻炼了他用电影讲故事的能力。正所谓“有感而发”，好的故事以及它暗含的启示性思想都需要长久真切的感悟和深思熟虑的提炼。从这点看来，大器晚成的李安在其电影创作初期便大获成功便也不难解释了。1991年，37岁的李安终于等到机会在纽约指导拍摄了自己的第一部作品，《推手》。电影一开始就上演了一场无声的斗争。从北京退休了的太极拳大师在儿子纽约的家中专注地练着功，藏蓝对襟罩衫，一双厚实黑纹布鞋，他两眼紧闭，身后挂着中国书法；不远处的书房里坐着老父亲的美国洋媳妇，蓬着满头卷曲的金发正烦躁地敲击着电脑键盘，不时地回头无奈地瞥一瞥练功忘我的老公公，她家中来的那个“外人”。中西方的冲突被看门见山地引了进来，戏剧的张力从无声的较量中开始。开场十分钟几乎没有人物对话，只听见老父亲衣衫摩擦的声音，伴随着洋儿媳重重敲击键盘予以反抗。

6. 如何评价李安导演电影《推手》

集中看完《喜宴》和《推手》，算上《饮食男女》，总算看齐了李安的家庭三部曲，最大的感受是：李安真是有文化！在这三部以探讨文化冲突和伦理道德而见长的电影中，李安分别以太极拳、烹饪、婚宴三种中国传统文化穿插其中，使影片来得更加原汁原味，有生活气息，有艺术感染力而又富于可看性。

除了《饮食男女》，《推手》和《喜宴》都把大环境放在美国，《推手》探讨的是父子关系在一个他国文化背景下的重新定位和重新权衡；《喜宴》着力于中西方文化间，传统与现代观念冲突下的家庭关系。李安在这两部电影涉及的主题是中西方家庭伦理观的冲撞；或许对于李安这样学贯中西，生养于台湾，求学工作于美国的中国人，片中人物所遇到的问题也是李安自身所关注、思考、和想要解决的问题。而李安是温文尔雅和宽厚的，骨子里有道家的风范，因此，这两部片子（其实三部都是）中的父亲形象虽然深得中国传统文化的熏陶，但却饱含着更深的宽厚、谅解、平和，最终都以理解子女的选择，依顺子女的意愿为解决冲突的方法。

《推手》的入题很快，影片开始不到十分钟，矛盾立即凸现：美国媳妇和她的中国老公公如何相处？养儿防老、天伦之乐的中国传统观念与西方的敬老院文化如何协调？这一主题被慢慢扩展，抻长：年迈的父亲出于无奈离家出走，满是寒酸地到酒店洗盘子为生；与酒店老板发生冲突，使出太极拳功夫坚决不走，捍卫自己仅存的尊严；李安以此深深叩问每一个观影人的内心：如果你是儿子，是父亲，将如何选择？直到
重新被儿子接回家，朱父亲才说出这番感人肺腑的话：只要你们过得好，我这把年纪了，又在乎什么呢？——情节行到这里仍然没有结束，直到朱父亲与陈太太再次相遇，互相邀请对方到各自的老年公寓，影片才籍此终结，主题被进一步深化完整。

“拳谱上说练精还气，练气还神，练神还虚。这练神还虚就难了”，朱老师傅这番话的意味何其深长！

我觉得李安电影的一大特点在于“简单”，故事说得清楚明白，谁都能看懂，矛盾冲突简单明了，几句话就能掰清楚；但是情感充沛，富于人情味；矛盾本身来源于生活，所以表现和拓展的空间就很丰富，始终在探讨，很能打动人心。就像《喜宴》，故事情节清晰简单：老人上了岁数，盼孙子；偏偏自己唯一的儿子是同性恋，如何是好？于是儿子高伟同选择与急需绿卡的威威假结婚，却不成想假戏真做，让威威怀了孕，继而与同性恋恋人赛门产生冲突。

与《推手》的温和恬静相比、《喜宴》显得喜气洋洋，富有喜剧色彩，特别是结婚、闹洞房的情节拍得满是人间烟火气——李安本人还在戏中插科打诨了一把：当一个老外在婚礼上窃语“我以为中国人都是柔顺沉默和数学天才”的时候，我们的李大导演赶紧凑上去说了一句：你正见识到五千年性压抑的结果。——但影片的结尾是意味深长的，离别之际，高老父亲紧紧握住儿子的同性恋恋人赛门的手说：谢谢你，谢谢你照顾伟同；又紧紧握住威威的手说：高家会谢谢你。三个年轻人互相搂抱着看着两个老人远走，这是三个人的新家庭与一个传统家庭的冲突与理解：母亲没有把真相告诉父亲，父亲也没有把真相告诉母亲，都是因为“爱”，因为“家”。

李安是一位真正的中国的导演，是一位真正有文化的知识分子；我觉得大陆目前还没有这样深谙传统文化的中国导演，陈凯歌曾经是，而现在他更像一个汲汲于口舌之争的家庭妇女，早已不顾自己的修为了；这不能不说是一种悲哀，而这种悲哀又绝不仅限于中国导演圈，而是一种社会大众的悲哀，责任系于你我的悲哀。

7. 恳求李安三部曲之《推手》（电影）

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8. 求李安电影《推手》《饮食男女》百度云

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《饮食男女》该片讲述了妻子去世多年的老朱和三个女儿在家庭生活中的观念冲突和各自的情感故事。

9. 推手高清完整版电影

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该片讲述了朱老退休后被儿子接到美国生活，由于他语言不通、生活习惯与孩子们不同，而引发家庭矛盾的故事。