电影飘影评英文

㈠ 急需一篇英文电影读后感(用英文写的)，120字左右，谢谢帮忙

电影《飘》观后感
See the over movie 《 gong with the wind 》 , I am very to move for ruide this person image.The ruide is handsome and natural and unrestrained, the magic power is endless, humor and wit, the strength is brave, he is rich, respecting again female, to love faithful.He again is a person who can see what others cann't, again sharp insight with the person of the self-control dint, and have to do the standard ownly.He is limitless ocean in elephant, thick forest in elephant, and can make female dependent on.The sijiali becomes friends with the ruide empress knot over the two marriage,however, ruide has been having no to changes the slightest to her the original intention, liking this in love with attitude the ream is felt by me get a fright.The writer gave the great breadth of view in ruide, he tolerate other people's mistake, respecting other people's right always.In his in the mind, men and women are complete equal.I do not know that still had the more perfect than this image what kind of male.

㈡ 英文作文观后感题目怎么写

给你一些例子吧，可以把电影名字写在前面，用逗号，或者破折号分隔，不写电影名也可以：
A Wonderful Movie
It's a Wonderful Movie!
A Enjoyable Movie
An Unexpectedly Great Film
A Great Emotional Drama , Based on a True Story
Superb Drama of Courage and Humanity
A Touching, Historical Masterpiece

㈢ 电影《飘》中女主人公最爱说的Tomorrow is another day怎么理解

电影《飘》中女主人公最爱说的Tomorrow is another day有三层意思：

1. Tomorrow is another day。明天又是崭新的一天 (也有“来日方长”的意味）

2. Tomorrow is another day。 明天有明天的事。（不管怎样，明天又是新的一天了）

3. Tomorrow is another day。明天又是新的一天。（有明天就有希望/明天还有指望/明天再说/明天还来得及）

什么是爱？什么是恨？爱和恨可以象两条永不相交的平行线，爱和恨也可能只需要一缕阳光就可以消融。珍惜拥有的人是幸福的，因为我们总是并不确切知道我们需要的到底是什么。太多的人只有在失去的时候，才知道去珍惜。泰戈尔有一句诗我特别喜欢：如果你因失去了太阳而流泪，那么你也将会失去群星。历尽沧桑，你要学会忽略过去。因为——tomorrow is another day。

扩展内容：

《飘》是美国作家玛格丽特·米切尔创作的长篇小说，该作1937年获得普利策文学奖。

小说以亚特兰大以及附近的一个种植园为故事场景，描绘了内战前后美国南方人的生活。作品刻画了那个时代的许多南方人的形象，占中心位置的斯嘉丽、瑞德、艾希礼、梅兰妮等人是其中的典型代表。他们的习俗礼仪、言行举止、精神观念、政治态度，通过对斯嘉丽与瑞德的爱情纠缠为主线，成功地再现了林肯领导的南北战争，美国南方地区的社会生活。

斯嘉丽·奥哈拉

斯嘉丽是一个复杂、独特的人物形象，她的最大特点在于女性气质与男性气质集聚一身。斯嘉丽漂亮、迷人，而在她的一生中任何时期都不忘利用自己的女性优势，比如她利用美貌轻易得到男人的青睐，利用女性的柔弱地位博取同情。同时，她也无法逃脱普通女性的狭隘和感性，比如缺乏知识、对事物的冷静分析和判断，喜欢幻想、盲目追求得不到的东西、自以为是。

然而正如作品一开始就提到的：她如花一样令人赏心悦目的外貌和言谈是后天培养出来的，而不安分的小手和眼睛是属于她自己的，是与生俱来的天性。作为出生在大庄园里的小姐，斯嘉丽接受的教导给了她文雅的外表，亦步亦趋地遵循淑女风范，骨子里的反叛火花却不时的迸发出来，她爬树、掷石子、拒绝像淑女一样吃东西，然而由于缺乏知识和精神追求，斯嘉丽的反叛行为不具进步意义，而仅仅是个人性格的自然表现，是抗争因素在起作用；

她争强好胜，对得不到的东西抱有强烈的欲望，利用女性气质得到爱情，内心却用对男性的强势态度对此不屑一顾；她冷酷无情，对待孩子从不像一般母亲一样百般呵护，她的柔情只有在利益面前才会流露；她不择手段，为达目的不顾及他人和道德；她坚强、有魄力，虽然恨梅兰妮抢走了艾希礼，却像个男人一样遵守承诺，在战火中照顾梅兰妮，并带她逃出困境；在新旧时代的更迭之际，她没有像普通女性一样甘心被摆布，而是突破传统，寻求自我价值的实现。

㈣ 英语100词观后感

英文电影:阿甘正传观后感（中英文对照）
阿甘有自己的坚持，他不断地跑步，JUST RUNS. 他跑步不为任何理由。他说:"人要往前看，千万不要被过去拖累。我想我跑步就是这个意义”和过去告别，不停留在原处。也许这世界上太多人随拨逐流，很少人会坚持做一件事，阿甘坚持自己的坚持，于是他成了“神”。影片中还有一位主要人物是上校丹。他在越南战争中失去了双腿。他说他的命运就是战死。然而阿甘却救他，让他活了下来。失去双腿后他开始憎恨生活，生活得很颓废，责怪阿甘当初救了他。然而当他调整心态，去和阿甘一起捕鱼生活，有了收获后，开始感觉到生活的美好。感谢阿甘当初就了他。影片试图通过这个角色告诉观者生活总是美好的。乌云后有彩虹，绝境后有重生。关键是看我们给不给自己一个好心态，一个机会去改变不好的现状。影片试图向观者传达这样一个信息：或许做好我们该做的每一件事，生活就会给我们一个好的回馈。只要有一种坚持就会出现一个奇迹。

Mr. A Gan has his own perseverance, keeping on running without of any reason, JUST RUNS. He said: “Man has t look forward, and never encumbered by foretime. I thank that's the meaning of my running.” Say goodbye to foretime and don't stay in-place. Although so many people in the world are used to follow others and few people can stick to one thing, Mr. A Gan does and becomes “GOD”. There is another character Captain Dan. Dan lost his legs in Vietnarm War. He said that his fate is death in war. However, Mr. A Gan saved him and let him be alive. After losing legs, Dan was decadent and disgusted with life, complaining that A

Gan shouldn't save him. When he adjusted his mind, living on fishing with A Gan, he started to enjoy the wonderful life and thank A Gan's help. The movie is intended to tell people that life is wonderful by this character. Rainbow is always after cloud. The key point is that whether we have a good mind and an opportunity to ourselves to change bad situation. The movie is also sent such a message to us: do well what we should do, and life will return us well. There will be a miracle if only there is perseverance.

电影《飘》观后感 中英文对照版
04级房地产营销班 张清

看完电影《gong with the wind》，我很为瑞德这个人物形象所感动。瑞德倜傥潇洒，魅力无穷，而且幽默风趣，坚强勇敢，他富有，又尊重女性，对爱情矢志不渝。他又是一位独具慧眼，又敏锐洞察力和自制力的人，而且有自己的行事准则。他就象无边的大海，就象茂密的森林，可以让女性依偎。斯佳丽结识瑞德后结过两次婚，瑞德对她的初衷却一直没有丝毫改变，这样的恋爱态度令受我感到吃惊。米切尔给了瑞德博大的胸怀，他宽容别人的错误，始终尊重别人的权利。在他心里，男女是完全平等的。我不知道还有什么样的男性比这个形象更加完美了。

See the over movie 《 gong with the wind 》 , I am very to move for ruide this person image.The ruide is handsome and natural and unrestrained, the magic power is endless, humor and wit, the strength is brave, he is rich, respecting again female, to love faithful.He again is a person who can see what others cann't, again sharp insight with the person of the self-control dint, and have to do the standard ownly.He is limitless ocean in elephant, thick forest in elephant, and can make female dependent on.The sijiali becomes friends with the ruide empress knot over the two marriage,however, ruide has been having no to changes the slightest to her the original intention, liking this in love with attitude the ream is felt by me get a fright.The writer gave the great breadth of view in ruide, he tolerate other people's mistake, respecting other people's right always.In his in the mind, men and women are complete equal.I do not know that still had the more perfect than this image what kind of male.

动画喜剧 海底总动员

Somewhere, under the sea, weak-finned clown fish Nemo (Alexander Gould) lives with his fretful father, Marlin (Albert Brooks). Smothered by pop's paranoia, he ventures away from the reef, but his dad's dread is justified when a passing diver whisks him away.
Taken to a tank in a Sydney dentists, Nemo meets Gill (Willem Dafoe) and co - friendly fish who dream of escaping to the ocean. Meanwhile, Marlin bumps into a blue tang named Dory (Ellen DeGeneres), and sets out to save his son...
The splendour of natural history hit The Blue Planet is matched by the wit of the script and stars. Barry Humphries has a terrific cameo as a great white shark who's sworn off killing (Remember, fish are friends, not food!), while DeGeneres provides perfect timing and tone as Dory, whose short-term memory loss is a gag that never stops running

喜剧动物片 101真狗

my personal favorite "101D" medium is Disney's "101 Dalmatians: the Series". It combines many themes of the existing material (Dodie Smith book, 1961 and 1996 movies). But still does its own things, too.

Our main pups include brave Lucky, who gets a strong personality mirroring his character in the book, lovable Rolly, the gourmand of the pups, and sweet little Cadpig, who is the true runt of the litter. Also there is Spot the chicken, who longs to be a dog. I find them all extremely amiable and enjoyable to watch. They are usually foiling Cruella's schemes for their land, or outwitting Lt. Pug (I'll get to him later), or sneaking into Grutely, or...just having fun, making a very likable show.

㈤ 求救:专家们哪为告诉我英文版的电影<飘>的影评!!!

你要的是乱世佳人的影评吗？
Gone with the Wind
Gone with the Wind is a very good movie, perhaps bordering on being great, but its subject matter and running time (which is easily 60 minutes too long) argue against its status as a masterpiece. As for its high placing on the AFI's list... it isn't the only travesty on that roster, but it is one of the most obvious.

Gone with the Wind is, simply put, a tale of two halves. The movie is divided by an intermission into a pair of roughly-equal segments. The first, which is brilliant and consistently captivating, covers the time period of the Civil War, beginning shortly after the election of Abraham Lincoln, and ending ring Sherman's march through Atlanta. The post-intermission half, which dishes out the suds, picks up at the end of the Civil War and concludes about eight years later. This portion of Gone with the Wind, while still retaining a degree of appeal and narrative interest, spins its wheels frequently.

Nevertheless, viewing Gone with the Wind on television pales in comparison to seeing it projected on a motion picture screen. New Line Cinema has chosen to re-release the film (which is now in its sixth major revival) for its 59th anniversary. (Why not wait a year for the 60th?) Anyone who loves movies but has only seen this one on TV or video is heartily encouraged to visit the nearest participating venue. Theatrically, Gone with the Wind is an entirely different experience from its small-screen counterpart; some of the second-half narrative tedium is effaced by the glorious visuals. With a restored three-strip Technicolor print that preserves all of the original's deep, vibrant colors and digitally-enhanced sound, this picture has never looked or sounded better.

Gone with the Wind has one of the best-known storylines of any film, e in large part to the popularity of the source material, Margaret Mitchell's best-selling 1936 book. It's essentially a sumptuous soap opera set around Civil War times in the deep South. The main character is Scarlett O'Hara (Vivien Leigh), the spoiled, manipulative daughter of an Irish immigrant plantation owner (Thomas Mitchell, who would later play Uncle Billy in Frank Capra's It's a Wonderful Life). Scarlett has two sisters, but she is by far the most spirited of the three O'Hara girls, and her father, seeing her as his successor, teaches her lessons about the importance of the land. "It's the only thing that lasts... the only thing worth fighting for," he comments in the face of war.

Scarlett is secretly in love with Ashley Wilkes (Leslie Howard), who is about to marry the gentle, demure Melanie Hamilton (Olivia De Havilland). When Scarlett confesses her love to Ashley, he admits his feelings for her, but notes that Melanie will make a much better wife. Immediately after this meeting, Scarlett has her first encounter with the irrepressible Rhett Butler (Clark Gable), the cynical, smart hero who eventually falls in love with her. They are two headstrong likes who simultaneously repel and attract one another. When Scarlett remarks, "You, Sir, are no gentleman," Rhett's smiling, easy response is, "And you're no lady."

The bulk of the film follows a romantic quadrangle as it unfolds against the backdrop of war and reconstruction in and around Atlanta and the O'Hara plantation, Tara. Scarlett is in love with Ashley, or thinks she is, but he won't leave his wife. Melanie loves both her husband and Scarlett, who improbably becomes her best friend. Rhett is smitten with Scarlett, and she is clearly interested in him, but the real question is how long it will take for her to recognize the depth of her feelings. Ultimately, when Rhett has finally had enough, he walks out of her life after answering "Frankly, my dear, I don't give a damn" to her plaintive query about what she's supposed to do without him.

The pre-intermission portion of Gone with the Wind, which runs about 115 minutes, is glorious from both a visual and an emotional standpoint. It's a grand tale of love and loss in the midst of this country's most bitter war. Most importantly, it shows Scarlett's development from a vain, spoiled brat into a hardened, determined young woman. Her relationship with Rhett is there, but kept carefully in the background. There is sadness, humor, and a number of breathtaking shots of Scarlett silhouetted against a reddish sunset or the backdrop of Atlanta in flames. The film's most lingering image -- that of thousands of Confederate wounded paving an Atlanta street -- occurs ring this part of the movie.

The second half, with its repetitive concentration on Scarlett's back-and-forth, do-I-love-him-or-not relationship with Rhett, is less successful. This stuff is real soap opera material, and, even as well- acted and well-presented as the narrative is, there's no mistaking it for anything else. If it didn't run on for so long, it would be a lot more bearable, but Gone with the Wind threatens to wear out its welcome long before the end title appears. The problem is that the bulk of the story is really told in the first half, so there's a lot of filler in the post-intermission material.

Gone with the Wind stands as a romantic monument to the Old South -- an homage to an era and a lifestyle long gone. The opening title states: "There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind." This clearly illustrates where the film's sympathies lies, and it isn't with the often-grim plight of the slaves (in fact, slavery is largely treated as a neutral, or even benevolent, institution).

One of the tests of the lasting impact of any film is determining whether it's still effective decades after its initial release. Gone with the Wind looks so good that it is surprising to consider its actual age. It's hard to believe that many of the people involved with this film have long since died. Of course, period pieces should not be constrained by the era in which they're made, only by the one in which they're set. The storyline, while "progressive" and "modern" for the 1930s, is a little tame for the 1990s (hence the MPAA's "G" rating), but, in its three-dimensional depiction of Scarlett and Rhett, it's rarely naive. The dialogue is often brilliant, and some of the Rhett/Scarlett exchanges are particularly clever. Gone with the Wind avoids becoming hopelessly maudlin by peppering the lengthy storyline with a variety of lively and humorous sequences.

Probably as much has been written about Scarlett and Rhett as about Casablanca's Rick and Ilsa. Vivien Leigh and Clark Gable were perfectly cast in the leading roles -- she was a relative unknown who was "discovered" almost by accident after an exhaustive casting period; he was an established idol. They fit together perfectly, and, while their chemistry isn't as overwhelming as that of Bogart and Bergman, it's pretty close. As with all couples, their glances and body language say as much or more than their words, and, especially in Scarlett's case, are always more truthful. The characters are fascinating, both on their own and in their interaction with each other. Scarlett is a devious manipulator with a dangerous charm (beware her when she bats her eyelashes); Rhett sees through her at every turn, but, even as smart as he is, he can't help falling for her.

There are a number of noteworthy supporting players. The two with the most screen time (aside from Gable and Leigh) are Leslie Howard and Olivia De Havilland. Both portray low-key characters, but do it so well that we develop a deep sympathy for them and their plight. When it comes to the games of the heart engaged in by Scarlett and Rhett, Ashley and Melanie are out of their league. Another standout is Hattie McDaniel, whose brilliant Mammy (the housekeeper at Tara) steals scenes from the more prominent characters. McDaniel brings Mammy to life, and, while she's not three-dimensional, she's real. Mammy is also evidence that Gone with the Wind was capable of transcending (at least in part) the too-easy black stereotypes that were in evidence ring the 1930s.

When discussing the creative forces behind Gone with the Wind, one rarely hears the name of Victor Fleming (The Wizard of Oz), the credited director. (He was actually one of four men to helm the project.) Instead, Gone with the Wind is referred to as "a David O. Selznick Proction," because Selznick was the driving force behind the movie's development. As Procer or Executive Procer, Selznick was instrumental in making over 50 films, including titles like King Kong, A Tale of Two Cities, A Star Is Born, Rebecca, Spellbound, and The Third Man. With four directors, over a dozen uncredited screenwriters, and several cinematographers, Selznick proved to be the creative glue that held Gone with the Wind together. This was his child -- an obsession that consumed him for years.

To date, no film has sold more box-office tickets than Gone with the Wind. Domestically, the tally almost doubles that for the phenomenally-popular Titanic. Of course, when the movie was first released, it wasn't just another motion picture -- it was a spectacle, an event. Even though the habits of movie- goers have changed over the years, it's easy to see why this film provoked such an outpouring of praise and alation ring its initial release, and why its stature has grown with the passage of decades. Gone with the Wind has flaws, but it's still undeniably a classic and a legend.
找些有用的摘下来吧！

㈥ 《飘》的英文名字是什么

《飘》，英文原名为Gone with the wind。是美国女作家玛格丽特·米切尔（Margaret Mitchell 1900-1949）撰写的长篇小说。小说以亚特兰大以及附近的一个种植园为故事场景，是一部全景式的社会小说。

书名直译应为“随风飘逝”，它引自英国诗人思斯特·道生的诗句，又取义于小说第24章的一段概括性描写，出自书中女主人公斯嘉丽之口，大意是说那场战争像咫风一般卷走了她的“整个世界”，她家的农场也“随风飘逝”了。

斯嘉丽以这一短语抒发了南方农场主的思想感情，作者用来作为书名，也表明了她对南北战争的观点，这与本书的内容是完全一致的。书名蕴藏着两层含意：这呼啸的咫风，指的是南北战争；那被飘去的云朵，指的是农奴制的安逸生活。

(6)电影飘影评英文扩展阅读：

创作背景

1、历史背景

美国南北战争摧毁了佐治亚乃至整个南方的经济，黑奴重新获得自由，昔日奴隶主养尊处优的好时光随风而逝，飘得远远的。为了生存，他们必须放下臭架子，努力奋斗，不然只有死路一条，连亚兰大上流社会的中坚分子也不得不降贵屈尊，卖糕饼的卖糕饼，赶马车的赶马车。

2、时代背景

女性主义文学是开始于19世纪，到了20世纪开始蓬勃发展。女性主义的飞速发展与当时的社会环境、时代背景有着密切的联系。随着法国大革命所倡导的自由、平等、博爱及天赋人权等思想在整个世界范围内迅速深入人心，从19世纪30年代开始，一场为了争取女性在政治、经济、教育等方而平等的女权运动开始了。1936年出版的玛格丽特·米切尔的《飘》就是在这种情况下问世的。

㈦ 飘的电影里喜欢哪个女主角,为什么,英语回答

开头十分钟表现时尚女魔头的段落很有趣，事实上这个故事完全可以被翻拍。但是为了表现歌舞和所谓的哲学思潮让整部电影的节奏出现了一点问题。据说这是赫本为了跟大师合作而指定的故事。如果传言是真，那么这部电影告诉我们，任何大明星的个人意志确实都会破坏整部电影的最终呈现质量。切记这是团队作业

㈧ 求有关讲述《飘》这部小说的电影 要英语配音有中英文字幕……

你说的是电影版的《乱世佳人》？那个时候的电影现在能找到的多半都只有英音中字哦，要找有中英文字幕的可以去淘碟！

㈨ 电影《飘》片名 Gone with the Wind 有什么来历和含义

Gone是"Go"的过去分词形式.Wind是"风"的意思."Gone with the wind"是跟着风一起走,也就是随风飘去.

“Gone with the wind”题目代表着美国内战前曾经在美国南方根深蒂固的一种生活方式的结束。就像电影开头所说的那样：There was a land of Cavaliers and Cotton Fields called the Old South...
Here was the last ever to be seen of knights and their Ladies Fair, of Master and of Slave...
Look for it only in books, for it is no more than a dream remembered.
A Civilization gone with the wind.
“a civilization has gone with the wind”，意思是一种文明已经随风而去。随着战争的临近，南方人原本的生活方式已经远去。

一个文明是随风而飘的，最终是要飘散的；一个人的命运是随风而飘的，最终也会飘散。其实又岂只是一个文明的飘散，随着文明飘散的是，无数个生命个体，一代人，一代人的梦想，一代人的生活方式。就像是面对一个终极的目标——死亡——一样，你是选择清醒而悲观空虚地活下去，还是抛开这终极的目标盲目地积极活下去；在一个文明消逝之后，你是选择在缅怀中活下去，还是抛弃过去，从新开始。

㈩ 女人必看十部电影英文介绍

1、《乱世佳人》（Go With the Wind 1939）又译:《飘》—— 坚强

文学名著改编，得到很多女性读者的喜爱。而影片则同该书一样出色，曾荣获第12届奥斯卡最佳影片、最佳导演、最佳女主角、最佳女配角、最佳改编剧本、最佳艺术指导、最佳剪接等七项大奖，这些奖项得任何一个都足以引起人们观看得欲望。克拉克．盖博和费雯．丽在片中演对手戏，就算你不在乎这些导演技巧，艺术指导什么的，光是这两个大明星的表演和耳熟能祥的经典配乐就能够使这近4个小时的影片变的不那么冗长。片中突出的郝思嘉的坚强永远留在观众的心中。

2、《钢琴课》(the piano 1993) —— 沟通

获第46届戛纳电影节金棕榈大奖，第六十六届奥斯卡最佳最佳女主角、女配角，最佳剧本奖。影片导演简．坎皮恩（campion jane）也是女性，用女性思维和感受去拍一部女性题材影片，应该更符合女性观众口味。影片给人印象最深刻的就是主演霍利．亨特（hunter holly）饰演的哑女，只靠动作和表情就能获得奥斯卡女主角奖。最后艾达在船上把钢琴推入海中，她也由于绳子缠绕被拉入海中，在深蓝的海水中下沉，下沉……把她的沉寂带入海底，也把痛苦的记忆沉入海中，给人以很强的震撼。

3、《蒂凡尼的早餐》（Breakfast At Tiffany‘s 1961） —— 虚荣

最初知道这部片子还是源于片中广为流传,经久不衰的插曲《moon river》（<<月亮河>>）这首歌前不久还入选为“二十世纪最经典歌曲”。奥黛丽.赫本塑造的霍莉性格饱满可信，鲁莽，稚气而又脆弱，开创了60年代电影中女性解放角色的先河。男人没有不喜欢奥黛丽.赫本的，而该片的摄影师是弗兰茨．普兰纳——这是奥黛丽最喜欢的摄影师，他把奥黛丽拍得十分漂亮。奥黛丽.赫本在片中边弹边唱《moon river》的形象被评为是她最令人心动的形象。作为女性观众，是不是更应该看看，以便使自己更动人呢？而把本片作为必看的影片还并不只因为此，虽然该片不是一部女性题材影片，但片中突出的主题－－反对“虚荣”和“金钱至上”使其绝对应该被列入女人必看的影片之中，从1961年至今以及日后相当长的一段时间里，该片都有着广泛而深远的现实意义。

4、《简爱》(Jane Eyre 1944)琼．芳登主演 —— 尊严

她说：“你以为，我因为穷，低微，矮小，不美，我就没有灵魂没有心吗？你想错了——我的灵魂和你一样，我的心也和你完全一样，……我们站在上帝脚跟前，是平等的——因为我们是平等的！”我们听到这个声音，并且看到时光流逝当中它在如此众多的心灵中泛起的回响的波纹。虽然这是一部很老的片子了，但经典名著并不会因岁月流逝而变的黯淡，当初该片影响了一大批知识女性，如今，它还是拥有大量喜欢简爱的观众（其中大部分是女性）。不美的人也可以有很美的爱情，如果她象简．爱一样，爱情会使她变美。

5、《白领丽人》)(Working Girl 1988)又名《上班女郎》 —— 才华

上世纪八十年代，随着美国又一个女性就业热潮的出现，好莱坞表现职业女性遭遇和经历的影片也进入了多产期，由迈克．尼科尔斯导演的《打工女郎》就诞生在这一时期，该片以喜剧的方式为职业女性制造了一个美妙的梦幻。这是典型的上班题材影片，现在越来越多的女性成为上班一族，而该片正是一部反映职业女性工作生活的影片。有才华的人是不会被埋没的，借以此片激励众多有才华的白领丽人，通过努力，必将获得成功。

6、《母女情深》（terms of endearment 1983） —— 亲情

孀居的中年妇女奥罗拉．格林威溺爱女儿艾玛，但又有些主观、专横，对女儿的事干涉过多。女儿渴望过独立生活，与英语教师汤姆斯．霍顿结婚后，搬到另一个城市居住。后来，奥罗拉与住在隔壁的退休宇航员加勒特．布列德洛弗产生了感情，身心变得年轻起来，可以和女儿象姐妹一样互相沟通，但不久女儿被癌症夺去了生命。本片获第56届（1983年）奥斯卡最佳导演，最佳女主演，最佳男配角奖，并被认为是80年代最感人肺腑的影片之一，看时自备手绢……

7、《紫色》（the color purple 1985） —— 苦难

史蒂文.斯皮尔伯格导演，胡比.戈德堡(whoopi goldberg)在片中饰西莉，恐怕当初所有看过该片的人谁也不会想到饰演如此悲剧性人物的胡比.戈德堡日后会出演搞笑的喜剧电影《修女也疯狂》系列，并以搞笑风格主持奥斯卡颁奖典礼！不过可惜的是该片获11项奖的提名，最终却一无所获，有评论说该片过于情。不过由此也可以吸取一些教训，那就是－－不要试图包揽奥斯卡所有奖项而兼顾影片的方方面面，还不如只搞几样突出的，这样更容易获奖。

8、《末路狂花》（thelma &louise 1991) —— 女权

美国1991年夏季10大卖座片之一，这部影片被认为是一部典型的女权主义电影，成功地描写了女主角作为普通妇女，在男性的压迫下，被迫走向极端……女权主义者和准备成为女权主义者的女性观众必看！先看这部影片苏珊．萨兰登（susan sarandon）的表演，再看她在《漫步死亡线》中饰演的修女，怎么也看不出是一个人。

9、《漂亮女人》(pretty woman 1990)又名:《风月俏佳人》 —— 浪漫

朱丽娅．罗伯茨的成名作，90年美国最卖座的影片之一。她成功地饰演了这位热情，聪明，漂亮，诚实富有个性的妓女形象而更多受到美国影评界赞扬。甚至认为这是继赫本《罗马假日》的表演以来最令人鼓舞的演出，这无疑奠定了她明星的地位，同时也为该片大增光彩。反映爱情浪漫史的电影为数众多，其中就必然形成了一定套路。我们所熟知的有：古老的白马王子与灰姑娘的爱情传奇。《风月俏佳人》就是一部这种类型的成功之作，也许很多男人会嫌它“俗”，不过女人说了：“俗，但是我喜欢！”麻雀变凤凰是无数女人的梦想，不管什么时候这种影片都会受到欢迎，这就是市场。

10、《女人那话儿》(Women's Private parts ) —— 性爱

黄真真执导，该片以纪录片形式拍摄，更找来“性女”钟爱宝、导演许鞍华、过气艳星、名模及港姐各不同范畴女性讲述对性爱、爱情观等。完完全全的女性题材电影，如果说这个片子都不被列入“女人必看”，难道该片算是“男人必看”？不过男人也需要看看，以加深对女人思想的了解。