侠盗罗宾汉电影英文

❶ 求书虫系列的《侠盗罗宾汉》的主要内容！最好是英文的！！！！！！！急急急急急急急急急！

回到英国故乡的罗宾非常兴奋，途中，为了解救一名被军士追杀的穷孩子，罗宾杀死了咸诺顿郡长的手下并得罪了郡长的表弟。其实，早在罗宾回家之前，残忍的郡长已用信奉魔鬼的罪名治死了罗宾的父亲洛士利。罗宾只能离开自家的庄园，他发誓要为父报仇。当他来到难友之妹李察王的亲戚玛利亚处时，玛莉亚却还把他当作少年恶少。 一次，在逃避郡长表弟的追杀中，罗宾与亚森躲入了舒洛森林，在那里，他们遭遇上了一伙穷人强盗，一番冲突后，罗宾以自己的英勇感染了他们并与他们成了好朋友。于是，已成了被郡长通缉的罪犯的罗宾放弃了贵族的身份，开始组织这批走投无路的农民进行操练来反抗郡长的残暴统治了。此后不久，舒洛森林成了贵族富人们的地狱，起义的农民军在不长的时间里抢劫了无数财宝，其中包括郡长企图用来收买人心以谋篡位的一大箱金钱。饥饿的农民们分享着胜利的果实，他们更为爱戴年轻的领袖罗宾汉了。一次，玛莉亚偶然经过舒洛森林并遭遇上了农民起义军。从罗宾口中，她获知了郡长企图篡位的阴谋，在这次短暂的接触中，她已看到了一个崭新的罗宾形象并对他也渐渐产生了好感。 屡次遭劫却又逮不住罗宾的郡长火冒三丈，他又去向女巫求救。丑恶阴毒的女巫指点他尽快雇佣野蛮人去舒洛森林围歼农民起义军，并要郡长去劫持理查王的表亲玛莉亚并与之成婚生子，以便名正言顺地抢夺王位。 残暴的郡长带人围住了舒洛森林，他们用火猛攻农民军。一场激战后，农民军寡不敌众，多数被俘。回到城堡的郡长一面毒打农民军并四处寻找罗宾的踪迹，一面又用捡来的罗宾的颈链谎称罗宾已死，去诱欺已被劫持的玛莉亚，悲痛的玛莉亚在无奈中被迫答应与郡长成婚。歹毒的郡长准备在其成婚典型上吊死农民军，这一消息被尚存的罗宾等人获悉，他们七个人开始组织谋划，准备行动了。 罗宾等人混入守备森严的郡长城堡，在执行吊刑时，他们突然行动，令敌人措手不及。玛莉亚看到罗宾还活着，拼死不愿与郡长成婚，疯狂的郡长企图草草举行结婚仪式并企图强奸玛莉亚。危急中，罗宾赶到，一番搏斗后，他终于杀死了暴戾成性的郡长并率领平民们攻下了整个城堡。 罗宾汉和农民起义军们来到舒洛森林，在修士正为他和玛莉亚举行的结婚典礼上，国王理查出人意料地来到，他当场充作主婚人，在众人的欢呼声中，祝福俩人永远幸福美满。

❷ 关于罗宾汉的英文简介

下面主要从影片的内容进行介绍：

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.

对照译文：《罗宾汉》影片聚焦于罗宾汉成为传奇和传说前的生活经历，讲述了他是如何从法外之徒变为国家英雄，又是如何从国家英雄变为侠盗的传奇故事。

影片评价：

该片宣传看点是史诗动作片，可是事实上是改编了很多历史，最后作为高潮的海滩交战，场面不够宏大，万箭齐发的套路中国影迷在张艺谋的《英雄》领教过了，没有太多的惊喜感。对于男主角罗宾汉，文戏的光芒盖过了武戏，虽然文的合情合理，可是影迷依然想看的是酣畅淋漓地痛揍敌人，妙语连珠的幽默桥段，充满邪气而正义感十足的“不法分子”罗宾汉。

年过40岁的拉塞尔作为奥斯卡最佳男主角，并非是他演技的问题，而是剧情安排的问题。活活把一个浪子改变成了忠厚、负责、还能持家的好男人。

❸ 侠盗罗宾汉的简介

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

提取码：vf3u
睡前故事世界著名童话故事-侠盗罗宾汉，在英国的传说中，罗宾汉的名字是极为响亮的。有些学者认为罗宾汉是中世纪绿林好汉的化身，还有学者认为这些民间故事完全出自人们的想象。他的传奇有多种说法，大致是说在12～13世纪著名的十字军东征的时候，英格兰的理查王被俘，留在国内的约翰王子趁机篡权，拒绝赎回理查王。而与他狼狈为奸的诺丁汉郡长也趁机强占了忠心于理查王的罗宾汉家的领地，更试图染指他的心上人玛丽安。罗宾汉被迫躲进舍伍德森林，以此为基地，领导一支农民起义军到处劫富济贫，最终成功赎回理查王，粉碎了约翰王子等人的阴谋。罗宾汉最突出的就是射箭术高超。据介绍，现在射箭比赛里就有“罗宾汉”这一术语，指射中另一支已中靶心的箭。

❹ 侠盗罗宾汉英语资料 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 侠盗罗宾汉的中英文对照急~~~

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

❻ 哪里可以看bbc的《侠盗罗宾汉》

链接:https://pan..com/s/1CBrtRW3jW4srthEBgWGzfQ

提取码:rw25复制这段内容后打开网络网盘手机App，操作更方便哦

《侠盗王子罗宾汉》是由凯文·雷诺兹执导，凯文·科斯特纳、玛丽·伊丽莎白·马斯特兰托尼奥、摩根·弗里曼等主演的动作片。该片于1991年6月14日上映。

影片讲述了英国人罗宾受狱友所托寻找玛莉亚，在逃亡途中行侠仗义，联合受压迫的人们，共同推翻郡长残暴统治的故事。

如果资源不正确，或者版本不正确，欢迎追问

❼ 关于电影罗宾汉

凯文·科斯特纳英文名：KEVINCOSTNER

出生年：1955年

生日：1月18日

性别：男

地域：欧美

职业：演员，导演

国籍：美国

1955年1月18日出生于美国加利福尼亚州洛杉矶。美国著名的电影演员，导演和制片人。在其高中他是一位出色的运动员，凯文.科斯特纳曾经考虑成为一名职业篮球运动员，但实际报考了加利弗尼亚大学“CaliforniaStateUniversity”。1978年毕业得到行销学学位。

早期较为著名的影片有《TheBigChill》1983和《Silverado》1985两部影片。

1987年凯文科斯特纳又出演了影片《铁面无私》《TheUntouchables》。在片中他饰演了一位查禁私酒的联邦官员。其出色的表现开始引起人们的注目。之后他又主演了影片《德拉姆牛》（《BullDurham》1988）和《FieldofDreams》(1988)，也都有着相当不错的表现。

1990年，凯文科斯特纳首次担任导演和制片，拍摄了史诗作品《与狼共舞》，并饰演男主角邓巴中尉。该片表现出凯文的出手不凡的大手笔。影片一共获得了十二项奥斯卡奖提名并最终获得了七项大奖。凯文科斯特纳初次执导影片，便获得了最佳导演奖，但他的演技也同样获得了人们的一致赞誉。

此后，凯文科斯特纳又制作了一系列成功的影片。影坛一片叫好，这也证明了他的成功并非偶然。在《刺杀肯尼迪》（《JFK》1991）和融一切浪漫史诗元素于一体的《侠盗罗宾汉》(《RobinHood:PrinceofThieves》1991)中，他都有着相当不错的表现，得到了影坛的普遍赞誉。

而在此之后的《保镖》（《TheBodyguard》1992）、《完美的世界》（又译《完美新世界》）（《APerfectWorld》1993）和《WyattEarp》(1994)、《TheWar》（1994）等影片中，他的才华和能力也都得到了充分的展现。

1995年，凯文科斯特纳又制作和主演了影片《未来水世界》。这是电影史上耗资最巨的影片，制作费用接近两亿美元。影片场面十分宏伟壮观，是该年反响最为强烈的影片之一。同时，影片的拍摄难度也是十分罕见的，各种困难和挫折层出不穷，但凯文科斯特纳终于凭借着他那坚毅顽强的性格和作风高质量地完成了影片的拍摄制作。

这部电影现在看来是一部融视觉震撼和思想内涵于一体的杰作，不过可能出现在20世纪90年代过于超前了，所谓生不逢时，当时的票房和口碑都亏待了这部优秀作品。值得欣慰的是，进入21世纪之后，《未来水世界》终于作为一部史诗级的科幻影片，赢得了它早应得到的欣赏和尊重。（由LJX补充）

在1996年，他又推出了影片《锡杯》(《TinCup》1996)，再次引起不俗的反响。凯文科斯特纳不仅是一位才华横溢的电影大师，也是一个在生活中真正坚持原则的人。他关心和同情身处困境的努力奋斗的人们，并且乐意帮助他们。在老一辈影星中凯文科斯特纳最欣赏的就是以质朴闻名的亨利方达。他称赞亨利方达的彬彬有礼、真挚热情和质朴纯真。而事实上，他自己也同样做到了。

2009年凯文科斯特纳在《新女儿》（TheNewDoughter}饰演约翰詹姆斯，一个单身的父亲带着他的两个孩子和离婚后的痛苦搬到了乡村的一个房子里。很快，他的年长的女儿开始出现奇怪的行为，家庭被令人不安的事件所困扰。约翰开始怀疑，那个神秘的森林边缘可能和他女儿的预示的行为有关。喜欢凯文的一定要支持他的新片！

详情参考网络

http://ke..com/view/137795.html?tp=0_00

❽ 《罗宾汉》故事英语主要内容

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世纪著名的十字军东征的时候，英格兰的理查王被俘，留在国内的约翰王子趁机篡权，拒绝赎回理查王。

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.

而与他狼狈为奸的诺丁汉郡长也趁机强占了忠心于理查王的罗宾汉家的领地，更试图染指他的心上人玛丽安。

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.

罗宾汉被迫躲进舍伍德森林，领导一支农民起义军到处劫富济贫，最终成功赎回理查王，粉碎了约翰王子等人的阴谋。

(8)侠盗罗宾汉电影英文扩展阅读

翻译技巧：

1、词义转译。当我们遇到一些无法直译或不宜直译的词或词组时，应根据上下文和逻辑关系，引申转译。

2、转译成动词。英语中的某些名词、介词、副词，翻译时可转译成汉语中的动词。

3、转译成形容词。英语中有些作表语或宾语的抽象名词，以及某些形容词派生的名词，往往可转译成汉语中的形容词。

❾ 侠盗罗宾汉读后感英汉对照急求

罗宾汉是传说中的英国逃犯。有些人认为他是一个真实的人，但大多数人不相信。在故事中，罗宾汉和他的快乐追随者们住在诺丁汉郡的舍伍德森林。他们穿着绿色套装，戴着尖顶帽子，而且很快乐，很大胆。罗宾汉和他的部下进行了许多令人兴奋的冒险。快乐的人抢劫富人，把钱给穷人。罗宾汉与诺丁汉的治安官作了斗争，诺丁汉是一个腐败的官员，他对待穷人很坏。所以他成了平民的英雄。罗宾汉是个伟大的弓箭手。他从未错过目标。他化装成许多不同的样子周游全国，所以没人知道他是谁。每当罗宾汉遇到麻烦时，他都会吹响号角，他的手下也会来帮助他。
塔克修士、小约翰和玛丽安女仆是他乐队最著名的成员。塔克修士是个肥胖、快乐的牧师。小约翰身高超过7英尺，以弓和箭的高超技艺而闻名。女仆玛丽安是罗宾汉的心上人。
尽管罗宾与地主、教会领袖和政府官员打架抢劫，但他和他的乐队尊重统治国王理查德一世。在许多故事中，国王伪装成自己，加入欢乐的人们，以俘获罗宾。但王发现罗宾汉和他的同伴是可敬的人，就赦免了他们。
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.