美国丽人 American Beauty 英文影评
国外经典电影赏析论文-AmericanBeauty影评
课题：《American Beauty》影评
姓名：ቤተ መጻሕፍቲ ባይዱ金成
学号：22131128
班级：电气13—4
系别：信息与电气工程系
2014年10月25日
美与人生
——《American Beauty》影评
姓名：王金成学号：22131128班级：电气13-4得分
《American Beauty》是由导演萨姆•曼德斯1999年执导的一部揭露和讽刺美国平静生活表面下的诸多矛盾的电影。《American Beauty》国内翻译成《美国美人》，台湾版的叫做《美国心，玫瑰情》，对观众领会影片所要传达的主旨造成不小的干扰。Beauty在其中直译作丽人过于草率，Beauty一词其实更应代表一切的美丽。同时，Beauty还具有美女和美丽这物化和精神化两方面的双关含义，为电影本身也增添了些许魅力。而影片引用吸大麻的Ricky所观察的事物，以那般“美丽”的诠释作为片名，用黑色幽默揭示（美国）当代生活的普遍现象。是一部非常有意义的电影。在美国，做中产阶级，一听上去简直是人生最美妙的境界。可是《美国丽人》这部第72届奥斯卡最佳影片却犀利地揭示了美国日常生活的“众生相”，并以一个典型的美国中产阶级家庭为例，展示了隐藏在美国社会美好肌肤内的种种病症。在一股如梦般不真切的冲动下，片中的人们展开了对“美丽”的追求，然而令人意想不到的是他们费劲千辛万苦争取到的“美丽”竟然如此脆弱。当这份“美丽”折断，我们是该惋惜，还是该沉思？是“美丽”本就过于脆弱，还是片中人所追求的“美丽”只是自以为是的假像？
能够把这么多精英集合在一起，影片自然有独到之处。以莱斯特为中心，莱斯特的妻子卡罗琳、女儿珍妮、女儿的同学Angela、莱斯特的邻居一家三口，都在影片中经历了一场对“美丽”的追逐。莱斯特在追逐“美丽”的同时，客观上又成为了别人（包括观众）眼中的“美丽”。对不同角色而言，“美丽”是不同的，但都是自己尚未拥有却又极度渴望拥有的那么一种微妙的感觉。在影片结尾，随着一声枪响，所有人的“美丽”仿佛都断了。这时，我们才明白，片名中的“American Beauty”不仅仅是一种玫瑰花的名称，还暗指了美国之幻梦、生活之美好和事实之真相。此时再回想起片中出现过的那个随风飘来飘去的塑料袋，从意象上来讲，我们可以说它诉说着人生的无助和无奈；可是从表像上来讲，这场“随风起舞”不正是生活中最真实的“美丽”吗？
American Beauty 影评
American Beauty 影评《美国丽人》是一部令人深思的电影，它通过细腻的描绘和引人入胜的故事情节，深深触动了我的内心。
首先，这部电影的拍摄手法和艺术表现力令人印象深刻。
导演萨姆·门德斯巧妙地利用了镜头语言和视觉效果，将角色内心的矛盾和挣扎以独特的方式呈现给观众。
特别是那些富有想象力和寓意的镜头，让我仿佛置身于主人公的内心世界，与他们一同感受着生活的苦闷和迷茫。
其次，影片对现代社会中常见的问题进行了深入的思考和揭示。
它以一个普通家庭为背景，通过展示主人公们的种种矛盾和不满，暗示了现代社会中人们内心的空虚和追求虚荣的现象。
这种对人性的深入剖析，让我在观影过程中产生了强烈的共鸣。
此外，影片中的角色塑造也非常出色。
凯文·史派西在片中扮演的莱斯特·伯恩汉姆是一个普通人，但他的内心世界却异常复杂。
他的转变和觉醒让我感到震撼，也让我思考起自己的生活。
而安娜贝尔·斯库里亚和萨姆·罗克威尔饰演的邻居夫妇则展现了不同类型的人物，他们的故事线索与主线相互交织，使整个故事更加丰满和有趣。
最重要的是，《美国丽人》给我带来了对生活的深刻思考。
它告诉我，我们常常追求表面的美丽和成功，却忽视了内心的真实需求。
电影中的人物们在不同的方式下都在追求自己内心的美丽，而这种追求却常常被社会的压力和期望所束缚。
这让我意识到，我们应该更加关注自己的内心世界，寻找真正属于自己的美丽和幸福。
总而言之，电影《美国丽人》是一部令人难以忘怀的作品。
它通过细腻的描绘和深入的思考，引发了我对生活和内心的思考。
它不仅是一部娱乐作品，更是一部启发人心的艺术品。
美国丽人_American_beauty_鉴赏
Presented by：Angus, David H., David K., Denis, Didier, Ginger, Yvette.
Nucleus Family and Suburban Life in America
• Suburbia in the United States: The Ideal Image of A Home: At the very beginning, also in the end of the film, we can see the neatly lined up houses. A perfect neighborhood, tranquil and peaceful ambience. Normality: On the surface every house is identical, the shape, the silhouette, the colour of the houses, the size of the gardens…etc. However, the interior varies so are the different families. They encounter different obstacles and share diffout, playing music out loud in the garage. - Buying the car he always dreamed of:
Carolyn Burnham: Uh, whose car is that out front? Lester Burnham: Mine. 1970 Pontiac Firebird. The car I've always wanted and now I have it. I rule! (Clip?)
《美国丽人》英文观后感影评
《美国丽人》英文观后感影评《美国丽人》英文观后感影评Film in the beginning, male host Mr. of side white tell us the coda of affair:he dead.This can not help letting the person remind of more virtuous than benefit bosom of beginning.Male leading role William the lotus Er ascend of the corpse float to float on the swimming pool, but he of the voice lead us to return to a story of beginning, narrate in detail from the beginning.Although a lot of movie usage so of means, few enough solidly knit physique to enough start to prop up a final outcome which have been already know.Perhaps BEof each the aspect all suited more contemporary American of life practice with appreciate beauty appetite, should the slice acquired to unprecedentedly clip a way shout in mainland in the United States, regardless is that a film criticism or an audience be all obtain what one has wished for a long ti general fight to be the first of crush into movie theater.Although should slice at whole the United States of 429 cinema project, it the receipt of a film gross earnings in two weeks have already rank five, it sensation effect perhaps only havecan place on equalfooting.In addition, should slice's being also a scene be infinite on each big movie stanza(particularly is the United States various film criticism association), cover with Jing to cut Ji, with one action bagged more than 50 items to judge and decide medium of more than 100 awards.Such as the Best Actor, Best Cinematography, Best Director of 20XX年Oscar, Best Film, the best and original manuscript etc. laurel wreath already good enough to elucidation: “Beautiful person in the United States" is notaher"die don't feel Xiao" of the United States dream.《美国丽人》英文观后感影评It's an incredible film about a taleny musician. His parents abandoned him on a steam ship which traveled to American from other places.The boy was brought up by a Negro who gave him the name 'Danny Boodmann T.D. Lemon Nineteen hundred .' His dad was killed in an accident and then he showed his talent in piano playing. He became a pianist on the steam boat in a group of 4 to 5 people.He never cooperated and always let his piano be aware of by the people in the dance floor so that other players would stop and look at those noblemen and noblewomen dancing crazily following the music .1900'skill was also well known among the people on the land . He hadn't got off the boat evenfor one time .He had seen uncountable people go to America to look for their dreams .He thought that the people on the land was too busy and didn't know what they were busy for.He wanted to do what he liked, what was easy ,what could make him happy. He could do anything but be ordinary.He was born on the boat and lived his all life on it .Just like a brief note passed through our ears and disappeared ."The legend of 1990" Was directed by Giuseppe Tornatore .It was written by Alesscandro Baricco .Tim Roth played the role of 1900. The film was attractive because of its amazing plot ,wonderful actor ,meaningful opinion and the excellent music .The sound of the piano had its moods and feelings .When 1900 met a graceful girl ,the sound became lyric.When he was arround by the poor who were enthusiastic ,the sound became brisk .When he played alone ,the sound became sad .The changeable appeared any time in the film. 1900's last song was silence .Before a dull explosion ,his fingers moved in the air ,played his last note.The film let me think a lot on life .I'll definitely recommend it to you .Let the music start ,telling you the legend of 1900.《美国丽人》英文观后感影评Leggenda del pianista sull'oceano,laTake a piano. The keys begin, the keys end. You know there are eightyeight of them, nobody can tell you any different. They are not infinite. You are infinite. And on these keys the music that you can make is infinite. I like that. That I can live by.What I didn't see. In all that sprawling city there was everything except an end. There was no end. What I did not see was where the whole thing came to an end. The end of the world...You get me up on that gangway and you're rolling out in front of me a keyboard of millions of keys, millions and billions of keys that never end.That they never end. That keyboard is infinite. And if that keyboard is infinite, then on that keyboard there is no music you can play. You're sitting on the wrong bench. That's God's piano.How do you choose just one? One woman, one house, one piece of land to call your own, one landscape to look at, one way to die...I was born on this ship, and the world passed me by, but two thousand people at a time. And there were wishes here, but never more than fit between prow and stern. You played out your happiness, but on a piano that was not infinite. I learned to livethat way.。
电影汇报：美国丽人(英文版)
Social drama—American beauty一．Basic elements of social drama（社会问题片）1.Definition（定义）:1)It’s an adverse condition affecting a significant number of people.(这个问题必须是对规模较大的一群人产生负面影响的某种环境)2)It is something that can only occur if those concerned about the problem haveenough power and influence to bring it to public attention.（它必须足以构成一个问题，即关心这个问题的人必须有足够的权利和影响力来吸引公众注意）3)If the appropriate measures are taken—the problem can be solved.（人们必须相信，只要采取合理的措施就能解决问题）2.Characteristics（特点）:1）Identify a social ill(发现一种社会疾病)2）Find a method to cure the disease(找到治愈这种顽症的方法)3.Typical example(典型影片):1）One Flew Over the Cuckoo’s Nest(飞越疯人院)—探讨精神治疗制度2）Philadelphia(费城)—探讨艾滋病问题3）American history X(野兽良民)—探讨种族歧视的原因4）Traffic(毒品网络)—探讨毒品问题5）American beauty(美国丽人)—探讨男性危机问题二．Film report—American beauty1.General introductionType ：S ocial dramaShow time ：O ct.1 1991Main award ：T he 72th OscarChinese name：美国丽人English name：American BeautyRegion：AmericaDirector：Sam MendesProtagonist：米娜·苏瓦丽Mena Suvari .....Angela Hayes克里斯·库柏Chris Cooper .....Col. Frank Fitts, USMC2.Detonator(引线): Lester (main role) was dying……Question:Why was he dead? How did he dead?Who killed him?3.Synopsis(故事梗概):American beauty tells the story of Lester, a middle-aged man who lives a sedated(平静的) life with his family in American suburbia(市郊)。
美国丽人英文影评
1美国丽人 American Beauty"American Beauty" is a comedy because we laugh at the absurdity of the hero's problems.And a tragedy because we can identify with his failure--not the specific details, but the general outline.The movie is about a man who fears growing older, losing the hope of true love and not being respected by those who know him best. If you never experience those feelings, take out a classified ad. People want to take lessons from you.Lester Burnham, the hero of "American Beauty," is played by Kevin Spacey as a man who is unloved by his daughter, ignored by his wife and unnecessary at work. "I'll be dead in a year," he tells us in almost the first words of the movie. "In a way, I'm dead already." The movie is the story of his rebellion.We meet his wife, Carolyn (Annette Bening), so perfect her garden shears are coordinated with her footwear. We meet his daughter Jane (Thora Birch), who is saving up for breast implants even though augmentation is clearly unnecessary; perhaps her motivation is not to become more desirable to men, but to make them miserable about what they can't have."Both my wife and daughter think I'm this chronic loser," Lester complains. He is right. But they are not without their reasons. At an agonizing family dinner, Carolyn plays Mantovanian music that mocks every mouthful; the music is lush and reassuring, and the family is angry and silent. When Lester criticizes his daughter's attitude, she points out correctly that he has hardly spoken to her in months.Everything changes for Lester the night he is dragged along by his wife to see their daughter perform as a cheerleader. There on the floor, engrossed in a sub-Fosse pompon routine, he sees his angel: Angela (Mena Suvari), his daughter's high-school classmate. Is it wrong for a man in his 40s to lust after a teenage girl? Any honest man understands what a complicated question this is. Wrong morally, certainly, and legally. But as every woman knows, men are born with wiring that goes directly from their eyes to their genitals, bypassing the higher centers of thought. They can disapprove of their thoughts, but they cannot stop themselves from having them."American Beauty" is not about a Lolita relationship, anyway. It's about yearning after youth, respect, power and, of course, beauty. The momenta man stops dreaming is the moment he petrifies inside and starts writing snarfy letters disapproving of paragraphs like the one above. Lester's thoughts about Angela are impure, but not perverted; he wants to do what men are programmed to do, with the most beautiful woman he has ever seen.Angela is not Lester's highway to bliss, but she is at least a catalyst for his freedom. His thoughts, and the discontent they engender, blast him free from years of emotional paralysis, and soon he makes a cheerful announcement at the funereal dinner table: "I quit my job, told my boss to - - - - himself and blackmailed him for $60,000." Has he lost his mind? Not at all. The first thing he spends money on is perfectly reasonable: a bright red 1970 Pontiac Firebird.Carolyn and Jane are going through their own romantic troubles. Lester finds out Carolyn is cheating when he sees her with her lover in the drive-through lane of a fast-food restaurant (where he has a job he likes). Jane is being videotaped by Ricky (Wes Bentley), the boy next door, who has a strange light in his eyes. Ricky's dad (Chris Cooper) is a former Marine who tests him for drugs, taking a urine sample every six months; Ricky plays along to keep the peace until he can leave home.All of these emotional threads come together during one dark and stormy night, when there is a series of misunderstandings so bizarre they belong in a screwball comedy. And at the end, somehow, improbably, the film snatches victory from the jaws of defeat for Lester, its hero. Not the kind of victory you'd get in a feel-good movie, but the kind where you prove something important, if only to yourself."American Beauty" is not as dark or twisted as "Happiness," last year's attempt to shine a light under the rock of American society. It's more about sadness and loneliness than about cruelty or inhumanity. Nobody is really bad in this movie, just shaped by society in such a way they can't be themselves, or feel joy.The performances all walk the line between parody and simple realism; Thora Birch and Wes Bentley are the most grounded, talking in the tense, flat voices of kids who can't wait to escape their homes. Bening's character, a real estate agent who chants self-help mantras, confuses happiness with success--bad enough if you're successful, depressing if you're not.And Spacey, an actor who embodies intelligence in his eyes and voice, is the right choice for Lester Burnham. He does reckless and foolish things in this movie, but he doesn't deceive himself; he knows he's running wild--and chooses to, burning up the future years of an empty lifetimefor a few flashes of freedom. He may have lost everything by the end of the film, but he's no longer a loser.2美国丽人 American BeautyIt’s a tricky business to leave American Beauty feeling all right, but the film works very hard to make that possible, despite its dismal representation of suburban living.Scripted by first-time screenwriter Alan Ball (who used to write for Cybill and off-Broadway) and directed by British theater veteran Sam Mendes (Cabaret, The Blue Room), the film features Thora Birch, once Harrison Ford’s school-uniformed daughter in the Tom Clancy movies, now a really pissed-off teen named Jane, living in the generic ’burbs with her hateful and self-hating parents, Lester (Kevin Spacey) and Carolyn (Annette Bening). The poor kid doesn’t have a chance. She’s a morose cheerleader with pale skin and red-red lipstick, as well as a blond, burstingly beautiful best friend, Angela (Mena Suvari, the golden girl of American Pie), also on the squad, who absorbs all attention whenever they’re in the same space.Birch is absolutely brilliant. Her sophisticated performance of Jane’s despair and aspirations — to be like Angela, to be loved by her father or someone resembling him, to be anywhere but where she is, in a room where her mother is melting down before her eyes — save American Beauty from comic, surreal overkill. She anchors the film’s easy-target hysterics in a character whose face — more than any dialogue or situation —registers the dark nuances of adolescent fear, disgust and longing.However, most critical attention has been centered on the movie’s insights into Lester’s horrific existence. This is understand able, as he is the narrator. Right off the bat he tells us, "This is my life. In less than a year, I’ll be dead. Of course, I don’t know that yet. In a way I’m dead already." The language is brutal and lyrical. The scene beneath the voiceover is alarmingly sterile but extremely familiar: an overhead shot of a suburban neighborhood, all the houses alike, all the streets going nowhere. In an instant, he’s sympathetic, the heart of the film. You anticipate and dread his death, and wonder who will be responsible.You’re led to believe that it’s Jane, indirectly or otherwise. The very first shot in the film is her face, on video, pouting. She’s talking to whoever holds the camera, whom we learn later is her boyfriend, a strange, desperate and abused new neighbor named Ricky (Wes Bentley). He affords his elaborate entertainment system by selling pot (to her dad) but he spends most of his time videotaping everyone, in particular Jane at all hours, from any position he can manage, as she crosses her lawn, gossipsin the schoolyard, passes by her bedroom window. In this first scene, she talks about how unhappy she is, and how much she dislikes Lester. "I need a father who’s a role model," she says. "Someone should put him out of his misery." Off camera, Ricky offers to kill him for her.This offer is certainly foreboding, especially since it’s followed by Lester’s announcement of his imminent demise. As the action proceeds, Jane is revealed as being typically teenagerish in her wrath: that is, not convinced that what she thinks she wants is really what she wants. (Angela says that the worst thing is to be "ordinary," and Jane believes her for most of the film, also accepting Angela’s plainly unfounded judgment that she —Jane —is ordinary.) She’s also passive and fearfu l, despite her desperation, characteristics she’s absorbed from Lester and Carolyn (who sells real estate badly and has an affair with the local "real estate king," played by Peter Gallagher). But Ricky, he’s another story: a ticking time bomb, embodying the stereotype that suburban white boys are fast becoming in today’s mass-media eye. His backstory includes a pathologically passive mom (Allison Janney) and a menacing dad, Marine Colonel Frank Fitts (Chris Cooper, devastating in a truly troubling role).F itts’ salient traits are ruthlessness, rigidity and homophobia —the ’90s insta-signs of imminent suburban-guy breakdown — which definitively set him apart from Lester, who genuinely likes his gay neighbors and who becomes remarkably flexible once he loses his advertising job and falls in love with Angela. This latter development comes to resembles Lolita, in that Angela relishes her role as jailbait, misunderstanding it as a means to self-worth (a typical girl’s mistake, hardly pathological in her given en vironment). Lester’s redemption takes up the movie’s length and emotional focus, but he leaves walking disasters in his wake: most obviously, his undone wife andguilt-traumatized child.By the time these results become clear to you, the film will be over. It ends, as it promises in its opening frames, with Lester’s death. The face that will haunt you is Jane’s, as it haunts her father, her boyfriend and her mother. Mopey and dreamy, implacable and lovely, Jane, like Lissa in Best Laid Plans, wants more than she can imagine. If only the movies around them were so ambitious.American Beauty 美国丽人英语影评And there were a lot of great ones this year. I will also say something even (possibly) bolder--that Kevin Spacey gives the performance of his career. And all us movie geeks know that is saying a LOT, given this man's past roles, and his talent. I used to think he was overrated as an actor. Then I figured OK, I see what all the fuss is about. Now, he's up there with my favorite actors of all time, with James Woods, Steve Buscemi, Robert Deniro...probably in the top 5.I was lucky enough to see a free screening this afternoon and boy, am I glad I had the privilege. In fact, this review might not even be that coherent- it's one of those movies that blows you away so much that you have trouble even putting your feelings into words.The plotline sounds trite when you first describe it (it did to me when I first heard about it), Spacey plays a man who describes himself as a loser, with Annette Bening as his horrible, shrewish, self-absorbed, pathetic b*tch of a wife. His daughter is not all that likeable either, despite the fact that you can understand why she turned out this way, with her as a mother. Just when you think you've met the most dysfunctional family in the world outside of "Happiness", you find out about the family who just moved in next door. At first, the strange son seems like the most messed-up member of their brood, but after you get to meet his ex-military, abusive, homophobic, terrifying father and his withdrawn, sad, headcase mother, you realize he is the most normal member of the household by far. Then, the filmwriters toss in Kevin Spacey's lustful obsession with his daughter's sexkitten cheerleader friend, which trust me, is a lot more fun, entertaining, and amusing than it sounds when you read about it. Soon, he is having the most entertaining, amusing midlife crisis ever seen in the history of cinema. He just doesn't give a ***k about what he does or says anymore, and you only wish you could get away with doing the things he does.I found myself laughing out loud in this movie so many times, most of it horrified, amazed laughter at what is happening and the things that are coming out of the character's mouths, especially Spacey's. He had at least a dozen lines that had every member of the audience in hysterics and actual applause and cheers.I can't say enough good things about this movie. You think, after the first five minutes, that you know how the movie will end. Well, Spacey's opening narrative does give it away, but trust me, the events unfold in a way that you will NEVER see coming. You will swear you can see what a character is going to do next, what violent or self-destructice act they will commit, but you turn out to be wrong.Without getting too pretentious here, the movie lives up to it's theme/tagline of "...look closer". THe characters are not what they seem, up until the end, and even then they surprise you. At least two characters that you are POSITIVE you have figured out, do or say something that turns all your preconceptions of them upside down, while making your jaw drop, and your heart ache. You will leave the movie with a smile, though, and that is maybe what I expected least of all.影评作业"American Beauty" is a comedy because we laugh at the absurdity of the hero's problems. And a tragedy because we can identify with hisfailure--not the specific details, but the general outline.The movie is about a man who fears growing older, losing the hope of true love and not being respected by those who know him best.Lester Burnham, the hero of "American Beauty," who is unloved by his daughter, ignored by his wife and unnecessary at work. "I'll be dead in a year," he tells us in almost the first words of the movie. "In a way, I'm dead already." The movie is the story of his rebellion.We meet his wife, Carolyn , so perfect her garden shears are coordinated with her footwear. We meet his daughter Jane , who is saving up for breast implants even though augmentation is clearly unnecessary; perhaps her motivation is not to become more desirable to men, but to make them miserable about what they can't have.American Beauty" is not about a Lolita relationship, anyway. It's about yearning after youth, respect, power and, of course, beauty. The moment a man stops dreaming is the moment he petrifies inside and starts writing snarfy letters disapproving of paragraphs like the one above. Lester's thoughts about Angela are impure, but not perverted; he wants to do what men are programmed to do, with the most beautiful woman he has ever seen.All of these emotional threads come together during one dark and stormy night, when there is a series of misunderstandings so bizarre they belong in a screwball comedy. And at the end, somehow, improbably, the film snatches victory from the jaws of defeat for Lester, its hero. Not the kind of victory you'd get in a feel-good movie, but the kind where you prove something important, if only to yourself."American Beauty" is not as dark or twisted as "Happiness," last year's attempt to shine a light under the rock of American society. It's more about sadness and loneliness than about cruelty or inhumanity. Nobody is really bad in this movie, just shaped by society in such a way they can't be themselves, or feel joy.He does reckless and foolish things in this movie, but he doesn't deceive himself; he knows he's running wild--and chooses to, burning up the future years of an empty lifetime for a few flashes of freedom. He may have lost everything by the end of the film, but he's no longer a loser.。
美国丽人 (American Beauty)
美国丽人 (American Beauty)
《美国丽人》是一部令人深思的电影，它以其深刻的人物刻画和引人入胜的故
事情节而闻名。
影片讲述了一个普通家庭的故事，却揭示了其中的复杂和矛盾。
导演萨姆·门德斯通过对家庭、社会和人性的观察，呈现了一个充满现代社会压
力和矛盾的世界。
影片的主题之一是对美国梦的探讨。
主人公莱斯特·伯恩厌倦了日复一日的平庸
生活，他渴望自由和幸福，却发现自己陷入了更加深重的困境。
这种对现实生
活的不满和追求更高境界的愿望，让观众们对自己的生活产生了深刻的反思。
影片还深刻地描绘了家庭关系和人际关系的复杂性。
莱斯特和他的妻子卡罗琳
之间的关系紧张而脆弱，他们的女儿简也面临着青春期的挑战。
而邻居家的少
女安吉拉则代表了年轻一代对美好未来的追求。
这些角色之间的纠葛和矛盾，
让观众们对人际关系和家庭生活产生了深刻的共鸣。
影片的摄影和音乐也是其成功的关键因素。
影片中的镜头语言和画面构图都展
现了导演对细节的把握和对情感的表达。
配乐更是为影片增添了许多情感色彩，让观众们更加深入地感受到了影片中角色的内心世界。
总的来说，《美国丽人》是一部令人难忘的电影，它通过对现实生活的观察和对人性的探索，给观众们带来了深刻的共鸣。
这部电影不仅仅是一部娱乐作品，
更是一部引人深思的艺术之作。
美国丽人影评
美国丽人影评下面是由整理的美国丽人影评，欢迎阅读。
美国丽人影评(一)少女洁白的肌肤，一双粉嫩的芊芊玉手，一朵鲜艳夺目的红玫瑰，由玫瑰、少女组合而成的电影海报中，透着一股纯美，而且也让人们对这部电影有一些遐想。
但电影中所诉说的故事，远远不是我们在海报上看到的那样轻松。
这部电影的发展以莱斯顿寻找生活意义的心灵历程为主线，从男主角莱斯特的自我救赎中，向我们揭示了生活的真谛。
“我四十二岁，再有不到一年就会死去。
当然，那会儿我还不知道。
不过从某种意义上来说，我已经死了。
”电影的开头男主角莱斯特如此诉说他的现状。
这让我想起了臧克家的一首诗《有的人》，有的人活着，他已经死了，有的人死了，他还活着。
在某种程度上来说，我们并不能拿人是否还能呼吸这一生理现象为依据，来笼统的判断人的死活。
当心灵之火熄灭，生活希望破灭，人生信仰迷茫时，那也是一种死亡。
片中的莱斯特已经进入中年，他拥有房子、车子、孩子，而这一切似乎没能让他感到幸福，妻子虚伪做作，女儿孤僻傲慢。
而莱斯特也因为自己行为的不检点，被妻儿小看。
平日里所有的生活对莱斯特来说都毫无激情可言。
为了妻子工作、陪她出入各种虚伪的应酬场合，为了使女儿高兴、佯装关心去看她的拉拉队演出，为使老板满意、卑微地做一条哈巴狗。
他每天如提线木偶般完成着生命中既定的各个角色，扮演一个好丈夫，一个好父亲，一个好员工。
但面对着妻子强势地指责，女儿冷漠地疏远，工作的繁琐。
半截身子已经埋在土中的莱斯特越来越厌倦这种机械式的生活。
莱斯特努力寻找逝去的激情，他决定不再循规蹈矩地维持这种生活。
使他下定决心与往日生活断绝的是他的新搬来邻居里奇，在一次商业聚会中，莱斯特偶然认识了里奇，他在酒店做服务生，同时兼卖大麻。
在当班时里奇与莱斯特开溜去吸烟，不料被经理发现，当酒店经理呵斥他赶紧工作时，里奇依然如故，完全不去理会经理。
当然，随心所欲是需要付出代价的，顶撞经理的里奇不可能在这里继续工作了。
里奇的做法惊醒了莱斯特，他看似有一份稳定的工作，有一个完整的家庭，但工作家庭的负担已经抹杀了他对生活的全部热情。
影评 美国丽人 全英文 500字The Conflict of American beauty
The Conflict of American beautyThe movie is titled with American beauty, which is a kind of American flower whose anthesis is short. As is shown in the movie, beautiful things will never last for a long time. Even the death symbolizing beauty in Ricky’s eyes won’t remain permanently. People’s pursuit of beauty has never been stopped. Thus, conflict emerges.In the pursuit of beauty, someone indulges themselves in illusion, while others choose to face the truth and awaken himself from dull boring life. This is strongly highlighted between Lester and Carolyn. Lester, a man at the age of forties, underwent the midlife crisis, only to get comfort to jerk off in the toilet. When he saw his daughter’s friend—Angela, he found the beauty of his life. What he was going to do revealed his determination to face the truth of dull life and awakening himself. Lester quitted his job and started to work out. The moment he was going to have sex with Angela and knew that Angela was virgin, he realized the most beautiful moment was to spend time with the people you really love, which was evidently shown in the scene he died.Carolyn, a working-mother control freak,whose pruning shears perfectly match her gardening clogs and whose personality proves as phony as her faithfulness, indulged herself in delusive phantom—the seemingly harmonious family, expensive-decorated house. Actually, she betrayed her husband and family to engage an affair with her real estate idol, and the expensive-decorated house came with mortgage. On the way of chasing the phony beauty, what she missed was the love from husband and daughter, and her own soul.Besides, in the pursuit of beauty, someone chooses to hold back, while someone choose not to hide, which is evidently shown between Ricky and Frank Fitts. Ricky, a drug, had never hidden his reverence and love for death. In his opinion, the death is the same as the second of god’s staring, from which people could see the beauty. The passage of life is amazing. The video tape of the plastic bag floating in the air and his witnessing of the homeless woman frozen to death showed his respect and appreciation to life and death plainly and frankly. As he said in the movie, “there was this entire life behind things and this incredibly benevolent force that wanted me to know that there was no reason to be afraid ever… sometimes there is so much beauty in the world, that I feel like I can’t take it, and my heart is just going to cave in”.Nevertheless, Frank Fitts, an US Marine Corps, who had his entire life complied withprinciples and routine and held the hatred of gays, was actually a homosexual. How ironic it was. He chose to hold back his inner desire of facing his sex-orientation bravely, which resulted in his wife’s mental illness and his son’s rebellion. His cowardice restrained his pursuit of life beauty. When he nerved himself to Lester, only to find that he met the wrong man. What he could do was to end Lester’s life, and continued to keep his principle and routines.Thus, the right attitude to beauty is to try to relax, and don’t hold on to it. And then all the beauty will flow through you like rain to make you feel gratitude to life.对死亡充满敬畏。
美国丽人AmericanBeauty英文影评
美国丽人 American Beauty 英文影评Nothing beats death for establishing a detached, omniscient point of view, and from the very beginning of Sam Mendes's haunting and accomplished debut feature (and one of the year's first significant films), it's made clear that its hero, middle-aged, middle-class lost soul Lester Burnham (Kevin Spacey) is a goner. Lester's flashback voiceover narration has the sardonic serenity of the beyond, an anarchistic wisdom as he observes himself jerking off in the shower ("This will be the highlight of my day), spies on wife Carolyn (a strident and fragile Annette Bening) tending the title roses ("See how her clogs match the handles of her pruning shears? It's not a coincidence."), or looks in on sullen and unhappy daughter Jane (Thora Birch, with soulful, accusing eyes) surfing the Internet for breast augmentation sites ("I'd tell her things get better, but I don't want to lie"). His secret? "In less than a year, I'll be dead. . . . But in a sense, I'm dead already."Who actually kills Lester is a mystery. Is it Jane, who's shown on video saying her dad is a "lame-o" who should be put out of his misery? Carolyn, who takes out her frustrations at the shooting range? Colonel Fitts (Chris Cooper), the new neighbor with the militant right-wing views and the extensive firearms collection? In the end, it makes no difference.As for Lester's spiritual death, it's one of the most common themes in American literature and film, and Mendes and first-time writer Alan Ball deserve credit for bringing this hollow man to life. Mostly, though, it's Spacey's movie, as his impeccable timing, coy superciliousness and rueful knowingness provide the tone and tension that illuminate it. Like the gimpy loser he played in The Usual Suspect, his Lester starts out unimpressively, embarrassing himself in front of his wife and daughter both in social settings and at the dinner table. But Spacey's diabolical smile suggests that his days as suburban doormat adrift in a '90s updating of John Cheever's white-collar wasteland (the film is reminiscent of that writer's "The Country Husband") will not be for long.His rebirth begins at a high-school basketball game where he and Carolyn, in a misconceived attempt to be better parents, watch Jane run through a new dance routine with the cheerleading squad. His patient gaze changes to ardor as the camera singles out the nubile features of Angela (vivid newcomer Mena Suvari), whose insinuating smile seems meant just for him. Mendes, however, overplays the moment: a spotlight shines on Angela, everyone else in the gym disappears, and she opens her blouse to unleash a cascade of rose petals, the hallmark of Lester's fantasy sequences, and one of the film's less compelling metaphors for beauty.Mendes is more restrained in Lester's second epiphany, when at a shindig for Carolyn's real-estate job he slips out back with Ricky Fitts (Wes Bentley, like a laconic Christian Slater with spooky presence), the colonel's son, who's catering the affair. Tiny figures framed by a blank wall and the asphalt of a parking lot, the two get loopy and hilarious on the dope that is the real source of Ricky's income. "I think you're become my new personal hero," says Lester when Ricky quits and tells his intruding boss to get lost.In effect Ricky becomes the film's hero, too, since he embodies the youth, idealism, and poetry that Lester abandoned along with his dream of owning a 1970 Firebird. Ricky also embodies much of the visual sense that distinguishes the style of this director (who's known for his striking stage productions of Cabaret and The Blue Room). Oppressed by his fascist dad (one of the film's few stereotypes that fails to transcend itself), Ricky buys video equipment with his dope money and shoots random moments of morbid beauty, such as a dead bird, a whirling plastic bag in a leaf-littered alley, and Lester's bruised-petal daughter. It's the beginning of a courtship between Ricky and Jane, and the interplay of self-conscious imagery, voyeurism, and desire recalls Steven Soderbergh's sex, lies and videotape and Krzysztof Kieslowski's A Short Film About Love.Lester, meanwhile, pumps iron while stoned to get buff for Angela, extorts a year's severance pay from his soul-destroying job, and is mostly amused when his wife has an affair with Buddy Kane (a graying Peter Gallagher, looking like a monstrous fusion of George Hamilton and Michael Dukakis), the real-estate king. The details of the dead man's ultimate fate are a bit of a letdown, but as he posthumously notes, it's hard to stay mad when there's so much beauty in the world, and in that regard, this near-masterpiece is true to its title.。
American beauty影评
American beauty影评这部片子我看了三四遍，而且是在图书馆的录像室里。
看了很长时间了，但是脑子里拉拉杂杂一些感受和对导演编剧意思的体会，一直未能很好的组合在一起。
似乎总是少了一根线，直到找到American Beauty的真正意思：一种美国玫瑰，美丽，却花期很短。
这样就连起来了。
我们生活中的美丽，就象美国玫瑰，美丽，花期却很短。
不，其实我说错了。
生活中的美丽其实很多，却也不短暂。
只是我们常常遗失了那些美丽。
我们的快乐是如此的短暂，为什么？因为生活。
可真的是因为生活吗？Lebster，42岁，在妻子和女儿眼中是一个彻头彻尾的失败者（looser)，在公司里是可有可无的员工，虽然他在杂志社已经工作了十四年。
他生活中唯一的high 点就是每日清晨沐浴时候的自慰。
妻子，Carolyn，一位地产销售商，向往成功。
和大多数妻子，女性一样，期望丈夫也是一名“成功者“。
叶和大多数的妻子和女性一样，对于“物品“有着强烈的爱好。
以至于，某日当丈夫试图重温多年前的浪漫时光的时候，她想着不能在价值4000美元的意大利真丝沙发上做爱。
Carolyn 和大多数职业妇女一样，化着精致的妆，保持着良好的身材，竭力表现着优雅。
可是，这一切掩饰不了她的乏味。
她是如此的乏味（she is so boring) ，她是如此的经营者一个表象, 一个成功的表象，一个典型的美国中产阶级家庭的所有符号, 而这些符号并不能掩盖一个典型的中产阶级家庭的危机。
女儿，Janie，中学生， teenager。
和所有的teenager一样：郁闷，不满，不安。
存钱为了有朝一日做乳房手术。
这个家庭有自己单栋房子，精致的家具和室内布置，有两部车。
晚餐时分，妈妈放着老歌，三个人各坐一方，桌上摆着鲜红的玫瑰，点着蜡烛。
完美无缺的景象。
可是没有一个人是快乐的。
晚餐刚开始时乏味的，接着他们开始争执，吵架，然后不欢而散。
Carolyn有没有想过，她有了华美的餐桌，没有一次愉快的晚餐；她有了四千美元的意大利沙发，却没有一次和谐的夫妻生活，为了什么？为了什么她失去了生活的快乐？ Carolyn成了一个实实在在的物质的奴隶。
《美国丽人》英语影视赏析论文
# # #学院课程论文题目：从电影《美国丽人》看隐藏在美国社会肌肤内的种种“癌症”课程名称英语影视赏析考查学期2014/2015 学年第一学期考查方式课程论文姓名学号专业成绩指导教师从电影《美国丽人》看隐藏在美国社会肌肤内的种种“癌症”摘要：《美国丽人》这部影片的色调虽然不是黑白的，但却是晦涩的。
“世界如此之美，应该平静地去欣赏”，主人公莱斯特•伯纳姆死前的最后一席话启发到，人们要用崭新视角去看待周围的世界。
如此颇具哲理的结局既让观众对莱斯特-伯纳姆的离开充满悲伤，对人生意义价值产生新的思考。
物质带来便利，同时也带来太多负担，又有多少人，可以真的放下。
请宽容，让自己幸福，不能带给别人幸福至少不要带去伤害。
《美国丽人》是一部体现美国家庭伦理生活矛盾的黑色喜剧，影片线索繁多但却脉络清晰，充分显示了导演山姆-门德斯的深厚功力。
同时凯文-斯贝西的出色表演也是影片成功的保证。
关键词：晦涩；崭新；物质；伦理；黑色喜剧一、电影种类英语影视赏析这门课程对我们大学生来说，可以激发我们学习英语的兴趣，也可以让我们更加了解西方的文化。
通过我们所选修的英语影视鉴赏课程可以知道，英语电影可以分为：喜剧片、励志片、幽默片、爱情片、强档片、科幻片、剧情片、黑色片、战争片、动作片、惊悚片、恐怖片等等。
每种类型的影片，它所表达的东西和要呈现给观众的东西是不一样的。
二、电影简介《美国丽人》是一部美国剧情电影。
它以一个典型的美国中产阶级家庭为例，展示了隐藏在美国社会肌肤内的种种“癌症”。
这部影片从刚开始就预告了主角的生死：莱斯特•伯哈姆已经活不到一年了，而现在似乎还看不出什么迹象……，一直响着的背景音乐也是时而晦涩时而低沉的。
男主莱斯特在服务了14年的公司里面临着随时被炒鱿鱼的危险，在拜金霸道的妻子面前也是无能懦弱的形象，在女儿面前更是不能作为模范榜样，似乎在谁的面前都是失败者。
直至，遇到女儿的同学安吉拉之后，他重燃了对生活的希望。
美国丽人影评
美国丽人影评【第1篇】年轻的时候，很多年轻人都心中充满了梦想，每个人都希望自己的人生锤炼能够充实而快乐，甚至充满了变化与刺激，比如经历几段新奇刺激的异国之恋，周游全世界以体验不同东方文化文化的风土人情，做一点惊天动地的大事等等。
但是，当许多年过去了，步入中年之后，除去少部分飞黄腾达、沃苏什卡的和厄运缠身、贫病一交一加的，大部分人的生活，都是平淡乏味而循规蹈矩枯燥的吧，就像一条正态分布曲线膨一大的中间部分一样。
日子久了，这种死水一样的生活里，也会慢慢孕育出一些躁动和不安来，又有许多家庭在这个时候破裂崩坏了，只有熬过这关，才会有让人欣羡的白头到老的故事。
人生很漫长，阶段很多故事也就很多，也许有过很多电一影去把握“人生”这个主题，但是因为本身的宏大一性单纯一质，杰出的作品也不多。
萨姆·门德斯的这部《美国丽人》则很好的避开了这一点，只截取人生中的中年这中年一段，以这个平静但是却充满压抑和躁动的时期作为切入点，将广大普普通通的美国中下层百姓的生活中的困境展现的淋一漓尽致。
中年危机、同一性一恋、吸毒、一性一解放、职场压力、婚外恋、家庭隔阂以及家庭暴力等等司空见惯的普通百姓的都在这里合理而恰当的汇聚了，最终合成了一杯生活的苦水，浇灭了美好的希望。
莱斯特是一个四十多岁的普通美国中年男子，混了许多年，较小依然只是公司里的一个小职员，浑浑噩噩，不思进取，得过且过。
相比之下，自己的妻子是一个房地产经纪人，野心勃勃并且展现出干劲，反而成了家中的顶梁柱和当家人，而夫妻之间早已对情侣对方都失去了兴趣，很久没有过一性一生活了，莱斯特平时只能依靠自一慰仰赖来解决问题。
女儿正直青春期，叛逆而古怪，痛恨自己软弱无能的爸爸以及强硬而虚荣的一妈一妈一，和家长之间也有着极深有感的隔阂，许久不曾讲过话。
某一天，当莱斯特偶然的重逢了女儿美丽风一騷一的女同学安吉拉凯西时，他瞬间就一爱一上了这个漂亮一性一感的女孩。
断然女儿对此感到十分尴尬和愤怒，而安吉尔并无可奈何，反而洋洋自得，并且偷偷说只要莱斯特须要变得有一性一感的身材，她就会考虑和他上一床一。
美国丽人(American Beauty)影评
美国丽人（American Beauty）影评电影评论：美国丽人（American Beauty）《美国丽人》是一部令人深思的电影，它以其真实而又震撼的故事，给观众带来了强烈的感觉和共鸣。
导演山姆·门德斯（Sam Mendes）通过对美国中产阶级家庭的描绘，勾勒出了一个追求表面美丽的社会对个体造成的压力和伤害。
首先，电影通过对主人公莱斯特（Lester）的刻画，揭示了现代社会中个体的迷失和焦虑。
莱斯特是一个中年男人，他在事业上陷入了困境，婚姻也变得平淡无奇。
他开始重新审视自己的生活，追求自己真正的内心渴望。
这种对自我认同的探索和追求不仅让观众感到共鸣，也让我们反思自己是否真正活出了自己的生活。
其次，电影通过对家庭关系的描绘，展现了人际关系的复杂性和脆弱性。
莱斯特的妻子卡罗琳（Carolyn）在外人面前保持着完美的形象，但内心却充满了不满和焦虑。
她的女儿简（Jane）也在寻找自己的身份和自由。
这些家庭成员之间的纠葛和矛盾，让观众深刻地感受到了现实生活中家庭关系的复杂性。
此外，电影还通过对美的追求和表面美丽的批判，让观众思考了现代社会中对外在形象的过度追求。
卡罗琳作为一个地产经纪人，对房子的美化和销售充满了热情，但内心却感到空虚。
而莱斯特则迷恋上了他女儿朋友的美丽，这种对表面美丽的追求最终将他引向了悲剧。
电影通过这些人物的故事，提醒观众要珍惜内心的美丽和真实。
最后，电影的摄影和音乐也给观众带来了强烈的感受。
山姆·门德斯运用了大量的慢镜头和富有诗意的画面，展现了生活中的细节和美感。
配乐也充满了情感，与故事情节相得益彰。
这些技术手法让观众更加沉浸在电影的氛围中，加深了对故事的理解和共鸣。
总的来说，电影《美国丽人》通过对现代社会中个体迷失、家庭关系和美的追求的描绘，给观众带来了强烈的感受和共鸣。
它让我们反思自己的生活和价值观，并提醒我们要珍惜内心的美丽和真实。
这部电影不仅是一部优秀的艺术作品，更是一面镜子，反映了现实社会中的问题和挑战。
美国丽人影评
美国丽人影评第一篇：美国丽人影评寻找生命之美——《American Beauty》影评《美国丽人》这部1999年度的第72届奥斯卡最佳影片犀利地揭示了美国日常生活的“众生相”。
它以一个典型的美国中产阶级家庭为例，呈现在我们眼前的是完美的“美国梦”，物质高度发达，人们衣食无忧，美国梦的背后却隐藏着中年危机的焦虑，个人价值观的紊乱，青春期的骚动，盲目追求金钱地位，被虚假的成功蒙蔽，以及压抑下人性的扭曲都在看似平静的生活中滋生、蔓延。
凯文·斯派西（Kevin Spacey）成功地演绎了Lester——这个挣扎于激情不再的婚姻和无意义的职业泥沼中的身心疲惫的丈夫。
Lester 的妻子Carolyn，像很多中产阶级妇女一样，整日为地产经纪工作驱使，为了所谓的成功努力着，紧张压抑，缺乏安全感，带着对丈夫的鄙夷感生活着。
Lester的女儿Jane对父母心存怨愤，厌恶父亲的懦弱，母亲的虚假，在迷茫不安的青春期与父母日渐冷漠疏远。
这个家庭内部已是危机四伏，但表面上总还是相安无事。
因为大家都认可了这样的生活局面，妥协着，忍耐着，相信着，然后告诉着也说服着自己，这就是生活的常态，就该如此。
表面上这个平庸无能、深陷于中年危机焦虑中的男人似乎早已习惯了这种机械化流水化，毫无激情可言的人生，直到他遇到了自己女儿的高中同学和朋友——金发碧眼的啦啦队长Angela。
Angela青春，美丽，他的出现给Lester乏味的人生注入了一剂强心剂，他第一次为活着感到欣喜万分，感到自己有时间尽情享受曾经错过的缤纷的美丽。
他辞去了索然无味的工作，开始健身，跑步，为追寻曾经错失的缤纷和美丽努力着，在快餐店炸汉堡，听摇滚，吸大麻，用自己的积蓄买下了自己喜爱的老式跑车，并向妻子明确表示自己对夫妻生活完全没有兴趣，在幻想Angela的梦境中享受着自我，Lester的改变丝毫没有引起妻子的重视，她觉得Lester疯了，敢于驳斥自己的观点，女儿也觉得父亲很可悲，居然幻想着自己的同学。
美国丽人(American Beauty)影评
美国丽人（American Beauty）影评《美国丽人》是一部令人难以忘怀的电影，它以其深刻的情感和令人动容的故事而闻名。
作为一名电影评论家，我被这部电影所触动，它给我带来了许多感受和共鸣。
首先，电影中的主题深入人心。
《美国丽人》探讨了现代社会中人们内心的迷失和渴望真实的生活。
通过讲述主人公莱斯特·伯恩厄姆的故事，电影揭示了我们在追求表面上的成功和社会认可时，往往忽略了自己真正的内心需求。
这种对内心迷失的描绘让我深思自己在生活中的选择和追求。
其次，电影中的角色塑造令人印象深刻。
凯文·史派西饰演的莱斯特·伯恩厄姆是一个看似普通的中年男子，但在他的内心深处，有着强烈的渴望和反叛的精神。
他的转变和觉醒代表了许多人在面对生活困境时的内心斗争和勇气。
而其他角色，如他的妻子卡罗琳、邻居简和他们的女儿简，也都展现了各自独特的内心世界和挣扎。
这些角色的复杂性和真实性让我对他们的命运产生了强烈的情感共鸣。
此外，电影的导演萨姆·门德斯以其出色的导演技巧和独特的视觉风格，为观众呈现了一幅令人陶醉的画面。
他运用了大量的符号和隐喻，通过细腻的镜头语言和剪辑手法，将故事中的细节和情感层次展现得淋漓尽致。
这些技巧使得观众能够更深入地理解角色的内心世界，并感受到他们的情感冲突和成长。
最后，电影中的音乐也是其亮点之一。
托马斯·纽曼为电影创作的配乐充满了情感和张力，与故事情节相得益彰。
音乐与画面的完美结合，为观众创造了一种独特的氛围和情感体验，使得观影过程更加丰富和感人。
总的来说，《美国丽人》是一部值得一看的电影。
它以其深刻的主题、令人难忘的角色和出色的导演技巧，给观众带来了强烈的感受和共鸣。
它让我们思考生活的意义和真实的追求，以及我们内心深处的渴望和挣扎。
这部电影将继续在观众的心中留下深刻的印象，成为经典之作。
美国丽人观后感英文
美国丽人观后感英文American Beauty: A ReflectionUpon watching the critically acclaimed film American Beauty, I found myself captivated by its thought-provoking storyline and profound exploration of the human condition. Directed by Sam Mendes, the movie delves into the deeply hidden desires, societal expectations, and the essence of true beauty that lie beneath the surface of American suburbia. American Beauty, both a critique and a celebration of American life, unravels the complexities of the human psyche and challenges our perceptions of beauty, happiness, and the pursuit of the American Dream.One aspect that stood out to me while watching the film was the portrayal of Lester Burnham, the middle-aged protagonist played brilliantly by Kevin Spacey. Lester, seemingly trapped in a monotonous existence, represents the disillusionment and discontent that can arise from conforming to societal norms. Through his narration, we are given a glimpse into his thoughts and feelings, revealing a deep dissatisfaction with his life. His rebellion against conventionality, epitomized by quitting his dull job and pursuing his fantasies, resonates with the audiences as a rebellion against the constraints imposed by societal expectations.One of the most memorable scenes in the film is when Lester discovers the beauty in the mundane through his infatuation with Angela, his daughter's best friend. The famous scene where Lester watches Angela lying on a bed of roses, her beauty illuminated in a gentle light, highlights his attraction to her youthful energy and vibrant appearance. In this moment, Lester experiences a profound awakening, realizing that true beauty goes beyond physical appearance and encompasses the freedom to express oneself authentically.Moreover, the film explores the complex dynamics of family and the façade of perfection often associated with the American Dream. Carolyn Burnham, played by Annette Bening, symbolizes the pursuit of material success and conformity. Carolyn's obsessive focus on maintaining the appearance of a perfect home and family reveals theunderlying emptiness she feels in her life. Her character reminds us of the relentless pressure society places on individuals to conform to certain societal standards, blurring the line between authenticity and the desire to meet external expectations.In contrast to Carolyn, Lester's daughter, Jane, grapples with her own struggles and insecurities. Thora Birch's portrayal of Jane beautifully captures the teenage rebellion and quest for identity. Her character arc provides an honest commentary on the challenges faced by young people in navigating their way through societal expectations and their own desires.Additionally, American Beauty portrays various aspects of love and relationships, depicting the complex intertwining of passion, longing, and vulnerability. The affair between Lester and Angela unveils the fragility of longing and a desperate attempt to recapture youth. Meanwhile, the relationship between Jane and Ricky, the peculiar boy next door played by Wes Bentley, offers a sense of hope and authenticity amidst the chaos. Their connection serves as a counterpoint to the superficiality and false facades prevalent in the suburban environment.Throughout the film, Mendes skillfully uses symbolism to enhance the narrative and provide deeper meaning. The iconic motif of the red rose petals serves as a visual representation of beauty, passion, and desire, while the swirling plastic bag becomes a metaphor for the search for meaning and fulfillment. These symbols contribute to the multi-layered nature of American Beauty, inviting the audience to interpret the film in their own unique way.In conclusion, American Beauty serves as a thought-provoking exploration of the complexities of the human experience. Through its nuanced characters, striking visuals, and profound storytelling, the film challenges societal expectations, norms, and the pursuit of beauty and happiness. As Lester Burnham declares towards the end of the film, "I guess I could be pretty pissed off about what happened to me, but it's hard to stay mad when there's so much beauty in the world." American Beauty reminds us that true beauty lies not only in appearance but in the authenticity and freedom to live life on one's own terms.。
《美国丽人》影评
《美国丽人》影评近些年来，很多美国电影尝试从阴暗面去反思那些在人们想象中应该是完美的白栅栏、小房子、小家庭。
对很多美国人来说，这种城郊生活是他们的“美国梦”。
但对有些人，这也许是一团扭曲的梦魇，充斥着未竞的愿望、被压抑的欲念和破灭的理想。
平静的表面下经常隐藏着孳生紊乱、焦虑、伪善的土壤。
导演大卫·林奇（David Lynch）正把这当作自己施展才华的舞台，他热衷于描述这种郊区生活的社会性堕落的根源，并且深入的进行解剖。
《美国丽人》（American Beauty）所记录的也是属于这个领域，但不像林奇的作品那么黑暗，因为它尚且存在瞬间的救赎。
一、死亡——“我四十二岁。
再有不到一年就会死去。
当然，那会儿我还不知道。
不过从某种意义上说,我已经死了。
”影片一开始，男主人公的旁白就告诉我们事情的结尾——他死了。
这不禁让人想起比利·怀德《日落大道》的开场：男主角威廉·荷尔登的尸体飘浮在泳池上，而他的声音带领我们回到故事的开始，细说从头。
虽然很多电影使用了这样的手法，但很少有足够坚实的织体能够支撑起一个已知的结局。
《美国丽人》是对典型的美国城郊生活带有讽刺意味的巡礼。
美丽的郊远小区、笔直的街道、路旁庭院前整齐而稀疏的树影、白房子红屋门，这些仿佛构成了一个完美的美国普通家庭。
但当我们走近它，在这个家庭里，莱斯特（Lester Burnham）——为所谓的“美国梦”牺牲的男主人——所追求的金钱和成功事业归于单调乏味的存在。
生活令他他感觉精神空虚、生命毫无价值。
凯文·斯派西（Kevin Spacey）成功地演绎了莱斯特——这个挣扎于激情不再的婚姻和无意义的职业泥沼中的身心疲惫的丈夫。
安尼特·贝宁（Annette Bening）饰演卡罗林（Carolyn）——莱斯特的精神压抑、整日为地产经纪工作驱使的妻子。
象大多数中产阶级妇女一样，卡罗林很容易被摆布，对自己的独立、自信深信不疑并为这一点从心底里怜惜自己。
《美国丽人》揭示美国幽暗底层的黑色幽默
《美国丽人》揭示美国幽暗底层的黑色幽默电影《美国丽人》（American Beauty）是一部由萨姆·门德斯执导，凯文·史派西、安妮特·贝宁、塞缪尔·杰克逊等人主演的经典电影。
该片于1999年上映，以其独特的叙事风格和深刻的社会讽刺赢得了观众和评论家的一致好评。
影片以黑色幽默的手法揭示了美国社会幽暗底层的现实，探讨了人性、家庭、社会等诸多议题。
本文将从不同角度分析《美国丽人》中所展现的黑色幽默，揭示其中蕴含的深刻内涵。
首先，影片通过对主人公莱斯特·伯恩厄姆的刻画，展现了现代社会中人们内心的迷茫和挣扎。
莱斯特是一名中年男子，过着平庸乏味的生活，工作枯燥乏味，家庭关系紧张。
然而，在一次偶然的机会下，他爱上了自己女儿的同班同学安吉拉，这种禁忌的感情让他重新找回了生活的激情。
莱斯特开始追求自己的梦想，不再受制于传统的道德规范和社会期许，这种反叛的行为在一定程度上体现了黑色幽默的一面。
他以一种戏谑的态度对待生活，将自己置于荒诞的境地中，试图逃避现实的束缚。
这种对现实的嘲讽和挑衅，正是黑色幽默的一种表现形式。
其次，影片通过对其他角色的刻画，进一步展现了社会底层的黑暗面。
比如，莱斯特的妻子卡罗琳，她是一个事业心强、追求完美的女性，但内心却充满了空虚和焦虑。
为了追求社会地位和物质享受，她不惜一切代价，甚至与房地产经纪人巴德展开了不伦之恋。
巴德则是一个表面风光的成功人士，实际上却是一个道德沦丧、心怀恶意的人。
他利用自己的权力和地位，对他人进行欺凌和威胁，展现了社会底层黑暗的一面。
影片通过这些角色的塑造，揭示了现代社会中人们追求权力、金钱和地位所带来的腐化和堕落，以及人性的扭曲和丑陋。
此外，影片还通过对青少年安吉拉和她男友瑞奇的描绘，探讨了家庭、青少年成长等议题。
安吉拉是一个叛逆、自恋的少女，她追求外表和表面的光鲜，却忽略了内心的真实需求。
瑞奇则是一个受过伤害、内心脆弱的少年，他通过摄影来表达自己的情感和内心世界。
American Beauty超经典影评
《AmericanBeauty》国内翻译成《美国美人》，看的DVD是台湾版的，叫做《美国心，玫瑰情》，听起来像个温情脉脉的爱情剧。
要是仅仅从字面上来翻译，应该叫做《美国的美丽》才对，虽然影片里有“美人”也有“玫瑰”幻想，可是从一部黑色喜剧的角度来定义这片子，《美国的美丽》才更能显出味道来，美国的美丽，美国什么的美丽，美国美丽的什么……就像电影中那些幽默又令人心酸的镜头，反讽一下下。
萨姆·门德斯的才华让我折服，电影中每个出场的人物不论戏份的多少都被刻画的有血有肉，在一个以街道为圆心的放射状空间中讲述了许多故事。
这部片子一直被定位成“中年危机”的描述，我却还看到了“青春期危机”“性格危机”“交流危机”“平淡危机”“信任危机”……究竟是“美国的美丽”还是“美国的危机”？？而这充满了“危机”的社会又何止仅仅是在“美国”呢。
无数个自己和别人，无数个似曾相识的过去和重蹈覆辙的将来。
两个家庭莱斯特和卡洛琳是家庭一的男女主人，她们有一个女儿简这个家庭简直就是社会上大部分男女主人40岁左右的家庭的典型代表。
他们每天睡在一张床上，盖着各自的被子，他们一年甚至更长的时间没有做爱，他们连吵架的兴趣都没有。
女人经常喋喋不休着一些琐事，有时候是和家人，有时候是和邻居。
男人早上起来在洗澡的时候自慰，他说：“这是我一天之中的最高点，剩下的时间情绪都在一直下降。
”女儿在上高中，积攒了几年给别人看孩子的工钱想去做隆胸手术，她很少和父母交流，一是没什么可说的，二是说了父母也理解不了。
男人公司的经济不景气，他将面临被裁员的危险；女人做房产代理，虽然不算特别成功，但是负担了家庭经济的一大部分，就像所有的主要负担家庭经济的人一样是家里的权威，晚餐的音乐和活动安排都要由女人决定。
我看到这些会微笑，都太真实，这种状态在婚姻生活持续15年以上的家庭中占了很大一部分。
平淡，没有激情，缺少交流，每个家庭成员都觉得寡淡无味但是用习惯支撑着一天天的继续。
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美国丽人 American Beauty 英文影评Nothing beats death for establishing a detached, omniscient point of view, and from the very beginning of Sam Mendes's haunting and accomplished debut feature (and one of the year's first significant films), it's made clear that its hero, middle-aged, middle-class lost soul Lester Burnham (Kevin Spacey) is a goner. Lester's flashback voiceover narration has the sardonic serenity of the beyond, an anarchistic wisdom as he observes himself jerking off in the shower ("This will be the highlight of my day), spies on wife Carolyn (a strident and fragile Annette Bening) tending the title roses ("See how her clogs match the handles of her pruning shears? It's not a coincidence."), or looks in on sullen and unhappy daughter Jane (Thora Birch, with soulful, accusing eyes) surfing the Internet for breast augmentation sites ("I'd tell her things get better, but I don't want to lie"). His secret? "In less than a year, I'll be dead. . . . But in a sense, I'm dead already."Who actually kills Lester is a mystery. Is it Jane, who's shown on video saying her dad is a "lame-o" who should be put out of his misery? Carolyn, who takes out her frustrations at the shooting range? Colonel Fitts (Chris Cooper), the new neighbor with the militant right-wing views and the extensive firearms collection? In the end, it makes no difference.As for Lester's spiritual death, it's one of the most common themes in American literature and film, and Mendes and first-time writer Alan Ball deserve credit for bringing this hollow man to life. Mostly, though, it's Spacey's movie, as his impeccable timing, coy superciliousness and rueful knowingness provide the tone and tension that illuminate it. Like the gimpy loser he played in The Usual Suspect, his Lester starts out unimpressively, embarrassing himself in front of his wife and daughter both in social settings and at the dinner table. But Spacey's diabolical smile suggests that his days as suburban doormat adrift in a '90s updating of John Cheever's white-collar wasteland (the film is reminiscent of that writer's "The Country Husband") will not be for long.His rebirth begins at a high-school basketball game where he and Carolyn, in a misconceived attempt to be better parents, watch Jane run through a new dance routine with the cheerleading squad. His patient gaze changes to ardor as the camera singles out the nubile features of Angela (vivid newcomer Mena Suvari), whose insinuating smile seems meant just for him. Mendes, however, overplays the moment: a spotlight shines on Angela, everyone else in the gym disappears, and she opens her blouse to unleash a cascade of rose petals, the hallmark of Lester's fantasy sequences, and one of the film's less compelling metaphors for beauty.Mendes is more restrained in Lester's second epiphany, when at a shindig for Carolyn's real-estate job he slips out back with Ricky Fitts (Wes Bentley, like a laconic Christian Slater with spooky presence), the colonel's son, who's catering the affair. Tiny figures framed by a blank wall and the asphalt of a parking lot, the two get loopy and hilarious on the dope that is the real source of Ricky's income. "I think you're become my new personal hero," says Lester when Ricky quits and tells his intruding boss to get lost.In effect Ricky becomes the film's hero, too, since he embodies the youth, idealism, and poetry that Lester abandoned along with his dream of owning a 1970 Firebird. Ricky also embodies much of the visual sense that distinguishes the style of this director (who's known for his striking stage productions of Cabaret and The Blue Room). Oppressed by his fascist dad (one of the film's few stereotypes that fails to transcend itself), Ricky buys video equipment with his dope money and shoots random moments of morbid beauty, such as a dead bird, a whirling plastic bag in a leaf-littered alley, and Lester's bruised-petal daughter. It's the beginning of a courtship between Ricky and Jane, and the interplay of self-conscious imagery, voyeurism, and desire recalls Steven Soderbergh's sex, lies and videotape and Krzysztof Kieslowski's A Short Film About Love.Lester, meanwhile, pumps iron while stoned to get buff for Angela, extorts a year's severance pay from his soul-destroying job, and is mostly amused when his wife has an affair with Buddy Kane (a graying Peter Gallagher, looking like a monstrous fusion of George Hamilton and Michael Dukakis), the real-estate king. The details of the dead man's ultimate fate are a bit of a letdown, but as he posthumously notes, it's hard to stay mad when there's so much beauty in the world, and in that regard, this near-masterpiece is true to its title.。