《冷山》影评400字中英文双解

Cold Mountain" has the same structural flaw as "The Mexican" (2001), a movie you've forgotten all about. Both stories establish a torrid romantic magnetism between two big stars, and then keep them far apart for almost the entire movie. Filling the gap in both films is a quirky supporting character who makes us unreasonably grateful, because the leads take themselves very seriously indeed, and speak as if being charged by the word. Hardly anybody but me gave "The Mexican" a favorable review, and I'm sort of in favor of "Cold Mountain," too -- not because of the noble and portentous reasons you will read about in the ads, but because it evokes a backwater of the Civil War with rare beauty, and lights up with an assortment of colorful supporting characters.The movie stars Nicole Kidman as Ada Monroe, the daughter of a Charleston, S.C., preacherman (Donald Sutherland) who has moved to the district for his health. The first time she meets Inman (Jude Law), their eyes lock and a deep unspoken communication takes place. Inman, as shy and awkward as a ploughboy in a ballet, contrives excuses to be standing about slack-jawed when she comes into view, but she has mercy on him, and after he has joined the Confederates and gone off to fight the war, she observes, "I count the number of words that have passed between us, Inman and me -- not very many. But I think about it." So few are their meetings, indeed, that later in the story they're able to count off on their fingers every time they have seen each other, and it doesn't take long enough to make us restless.Ada's father dies, leaving her as a poor city girl to farm the land, something she is ill-equipped to do. A sensible neighbor lady dispatches an energetic young woman named Ruby (Renee Zellweger) to help out, and Ruby sets to work splitting rails, milking cows, wringing turkey necks and expressing herself of opinions so colorful Garrison Keillor would blush with envy. Ruby and Ada are also prepared to stand in their doorway with a rifle when necessary, just as well, since the home guard is captained by Teague (Ray Winstone), who figures Inman isn't going to come home, and that Ada will need a man to protect her -- against Teague, for that matter.Inman witnesses one of the most horrible battles of the war, in a set-piece that director Anthony Minghella and production designer Dante Ferratti can be proud of. After Union troops tunnel under Confederate lines and set off powerful explosives, the position caves in -- but not with the expected results. The Union men, pushed forward by those behind them, are hurled down into the vast bomb crater, and it's a "turkey shoot" as the Confederates pick them off.That Inman jumps down to save a friend is unwise, that he survives is unlikely, and that he decides to heed the latest letter from Ada and walk away from the war and back to her is unsurprising.His long trek back to Cold Mountain has been compared with some justice to Homer's Odyssey, since he meets fabled characters and seductresses along the way, but in a movie that begins with the two heroes barely meeting each other, this long sequence becomes alarming: Will their reunion take place in old age?To return to the comparison with "The Mexican" -- it too went to extraordinary lengths to tell parallel stories that separated Brad Pitt and Julia Roberts, despite the manifest fact that the audience had purchased tickets in order to see them together. It was only the fortuitous appearance of a colorful crook played by James Gandolfini that saved the film and brought life to Roberts' scenes -- just as, this time, Zellweger saves the day.There is so much to enjoy about "Cold Mountain" that I can praise it for its parts, even though it lacks a whole. I admire the characters played by Kidman and Law, even though each one is an island, entire to himself.I loved Zellweger's gumption, and the way she treats a dress like a dishrag. The battle scenes and the Civil War landscapes (shot in Romania) have beauty and majesty. But Winstone as the villain turns up so faithfully when required that he ought to be checking his clock like Capt. Hook, and although there is true poignancy in Inman's encounter with the desperate widow Sara (Natalie Portman), it is poignancy that belongs in another movie. Nothing takes the suspense out of Boy Meets Girl like your knowledge that Boy Has Already Met Star.By the end of the film, you admire the artistry and the care, you know that the actors worked hard and are grateful for their labors, but you wonder who in God's name thought this was a promising scenario for a movie. It's not a story, it's an idea. Consider even the letters that Ada and Inman write to each other. You can have a perfectly good love story based on correspondence, but only, I think, if the letters arrive, are read and are replied to. There are times when we feel less like the audience than like the post office.冷山 Cold Mountain review by Desson ThomsonNICOLE KIDMAN and Jude Law are walking, talking cadavers in love in "Cold Mountain." They shuffle through this handsome adaptation of Charles Frazier's celebrated novel like romantic living dead in period costume. You wonder if this is an epic romance or a ghost story.It's unfortunate, because just about everything else about "Cold Mountain" is involving enough. Writer-director Anthony Minghella has assembled a visually impressive production that gives us a sense of the Civil War that took so many lives and left a whole culture devastated. And almost everyone else in the cast but the leads is terrific, particularly Renee Zellweger as a hardscrabble drifter who takes immediate command of the movie.In a North Carolina mountain community in the 1860s, Ada Monroe (Kidman) falls in love with Inman (Law), an impossibly angelic, laconic man. But as soon as their mutual attraction becomes obvious, the Civil War intervenes. Naturally, Inman goes to fight, but he's injured in battle. Refusing to linger in his hospital bed, he undertakes a dangerous journey home, intending to reunite with Ada. But the way home is fraught with danger for deserters such as Inman.While Inman is taken up with his ordeals, the city-bred Ada -- forced to take over the farm of her deceased father (Donald Sutherland) -- does her best to survive with no experience and no strong hands to help her. Things change when Ruby (Zellweger), a penniless but forceful stranger, passes through. She knows a thing or two about managing a farm. In no time, she takes over.I mean that in more ways than one. Zellweger chews up the scenery around Kidman. She lays waste to all surrounding structures and vegetation. You almost expect Kidman to slap her for sheer effrontery. This is good and not so good. Zellweger's performance only serves to point out the charisma missing in the two stars.Neither Kidman nor Law has registered much of a body temperature at the best of times. Even Kidman's finest performances seem to have a frosty tinge about them. Here, things are no different. As Ada, she's picturesque in her elegant, I'll-always-have-Tara suffering. But dramatically, she's morgue-slab blue. She's meant to be a Dixie spin on Penelope, the wife of the mythic Greek hero Odysseus who maintains a home and wards off a host of ardent suitors for 10 years until her husband's return. But in the end, Kidman merely made me think of Lady Penelope, a classy character in a 1960s British television series called "Thunderbirds." Incidentally, the characters in that show were all marionettes.As for Law, his stunning good looks and almost catatonic demeanor suggest a master-race automaton. He's mighty purty as he fights his way back to his darling, but there's nothing about him to warm to, and therefore little to move you. He's poster art.In a movie where passionate love is supposed to connect two souls through a war of blood, guts and tragedy, this marquee chilliness presents a problem. It makes it hard to lose yourself in the movie. But hey, it's about making $40 million-plus on the first weekend, right?Honorable mentions should go to Ray Winstone as the scheming Teague, who has his eye on the single Miss Monroe; the wonderfully entertaining Philip Seymour Hoffman as a fallen preacher who makes personal survival his new religion; and Brendan Gleeson, one of the world's best male actors on the strength of the 1998 "The General" alone, who must content himself here with a relatively minor role as Ruby's cheery fiddler of a father. Thanks to Zellweger, the supporting actors and Minghella's direction, "Cold Mountain" manages to stay watchable. It's enough of a spectacle to enjoy. It's too bad the stars are little more than serviceable and give the movie title an irony it could certainly do without.冷山 Cold Mountain review by Erica AbeelA staggering amount of talent is involved in Cold Mountain, from production designer Dante Ferretti of Gangs of New York, to toppers Jude Law and Nicole Kidman, to name actors doing cameos, to English Patient director Anthony Minghella. And certainly, its big canvas, authentic settings and tragic romance make for an engrossing film. But despite its surface allure and hi-lit cred, the hero remains opaque, the structure is episodic, and the film never quite attains the epic sweep it aspires to.The English Patient marked Minghella's preference for wartorn periods when the guns have stopped blazing and shattered lives must be rebuilt. Similarly, Cold Mountain (adapted from Charles Frazier's award-winning novel) focuses on the chaos and barbarism of 1860s America, when the Civil War was winding down. Inman (Jude Law), known only by that name, is a badly wounded Confederate soldier who refuses to continue fighting for a cause he can't believe in, and lights for home in North Carolina. A parallel spiritual journey is undertaken back on the farm by his sweetheart Ada (Nicole Kidman), whom Inman longs for yet barely knows. Ada must evolve from helpless Southern belle to gritty survivor, in order to maintain the homestead she once shared with her minister father (Donald Sutherland). Completing the central trio is Ruby (Rene Zellweger), a drifter who descends on Ada, offering solidarity, along with a crash course in agriculture and plain ole orneriness.The film opens with a voiceover of Ada's gentle Southern drawl as she writes a letter to Inman, pleading with him to come back to her. An apt beginning, since it's her voice and his memories of Ada that pull Inman homeward on an odyssey marked by obstacles (not unlike in The Odyssey), ranging from sexual temptation to lock-up in a chain gang. Inman's journey is intercut with flashbacks of his courtship of Ada, coupled with extended scenes of her newfound role as gutsy farmwoman. But this back-and-forth spells structural trouble: The film feels fragmented and tentative before finding its forward groove.Perhaps the main problem, though, lies in translating from print to screen: In Frazier's novel, Inman comes alive through his thoughts, emotions and consciousness, but the inner life doesn't play well in cinema. Except for the welcome flashbacks to Inman and Ada's chastely sexy encounters, we know him mainly through his adventures among the desperados he encounters, including Philip Seymour Hoffman as a guy poised to drown his pregnant black mistress, and Giovanni Ribisi as a bounty hunter luring his victims with booze and 'hos. It's always: What fresh hell awaits our hero? The resulting episodic structure spells tedium. Of course, the payoff arrives in the final big love scene between Inman and Ada. Artily shot for softcore titillation, as if the stars were too stellar to reveal their bodies, it's a letdown, and the viewer feels: All that just for this?Much has been made of Mountain as the first romantic starrer for Jude Law, and no question he's got the goods--but the film squanders his talent. It's hard for Law to get his teeth into a role that consists mainly of longing for Ada and incurring assaults, and his gorgeous face is either obscured by a woolly beard or smeared with blood and grime. The voice coaches must have really earned their keep. Law's twang doesn't entirely convince, though Kidman's Southern lilt sounds about right. The camera loves her starry blue gaze and luminous skin, and DP John Seale (also of The English Patient) makes her a mesmerizing package. The role of Ruby is a boon for Zellweger, since she doesn't have to look pretty, which was always a stretch. Amost unrecognizable, she soldiers through like some Civil War Annie Oakley, though I didn't for a minute believe in a character who seems mainly there for uplift. (Curiously, in the novel, Ruby was an escaped black slave, and you have to wonder why the filmmakers didn't run with that to score p.c. points.) Such notables as Ray Winstone, Natalie Portman and Eileen Atkins add actorly gravitas, and Gabriel Yared's score conveys a mood of doomy romantic grandeur. Ultimately, though, this art film blown up to studio scale delivers too little, too late.冷山 Cold Mountain review by James BerardinelliIt's not often that, when the primary thread of a movie fails, the secondary storylines are compelling enough to make the overall experience a positive one. However, that occurs with Cold Mountain, a Civil War era romance where the love affair fizzles, but the episodic approach allows the narrative to breathe. The end result is that the film has more to offer than the tepid Nicole Kidman/Jude Law pairing. There are a lot of things to like about Cold Mountain, but those expecting director Anthony Minghella to recapture the tragic, romantic enchantment of The English Patient will be disappointed.The second half of Cold Mountain is significantly better than the first. Writer/director Minghella has the unenviable task of cramming a lot of background information (done via flashbacks) into the first 60 minutes, as well as getting things off to an explosive start. While we are provided with all the necessary information, the underlying feelings are regrettably absent. The central motivating force for the main characters - an unquenchable love - comes across more like a writer's conceit than something elemental that exists between these two. We know that Inman (Law) and Ada (Kidman) are in love because the movie tells us so, not because we are given a compelling reason to believe it. Consequently, although we end up caring about the characters on an individual basis, the question of whether they are given a chance to re-connect is of secondary importance.The movie opens in 1864, with the South well on its way to losing the Civil War. After recovering from a devastating injury, infantryman Inman decides to desert and make his way back to his home town of Cold Mountain, North Carolina, where he hopes to have a life with Ada, the preacher's daughter. It has been three years since they last saw each other, and he doesn't know for sure whether she is waiting for him. They hardly know each other - their interaction was brief, but left a lasting impression. However, the trek back to Cold Mountain proves to be an arduous one. Along the way, Inman meets a number of odd people, some of whom are interested in helping, and others who see him only as a way to make a profit.Meanwhile, Ada has been waiting. Following the death of her father (Donald Sutherland), she has let the farm lapse into disarray. Enter Ruby Thewes (Ren閑 Zellweger), a plain-speaking freespirit who offers to help Ada rebuild the farm in exchange for meals and lodging. A bargain is struck and the two begin a mutually beneficial partnership that develops into a friendship. But troubles lurk. The head of the local "home guards" (Ray Winstone, who does evil as well as anyone), a group empowered to kill deserters, wants Ada and her land, and Ruby's father (Brendan Gleeson) pays his daughter an unexpected visit.Cold Mountain receives a much needed boost of energy with the introduction of Zellweger's Ruby, an event which occurs just before the end of the first hour. She is flamboyant and energetic - two characteristics that do not apply to either Kidman or Law. While it's unfair to impugn the two leads, since both do adequate jobs, Zellweger constantly forces Kidman into the background by the forcefulness of her performance. Law suffers the same fate at the hand of numerous supporting players, including Philip Seymour Hoffman (as a philandering minister), Natalie Portman (as a young mother who is victimized by Union soldiers), and Aileen Atkins (as a loner in the woods who helps Inman).Cold Mountain's strengths lie in its vignettes. Inman and Ada's paths to their reunion are broken into various episodes. Some of these are quite good, and even the least impressive retains some degree of interest. It's fair to say in Cold Mountain's case that the journey counts more than what happens once the destination is reached. In fact, one could make a legitimate argument that the quality keeping this movie from greatness is the lack of fire in Inman and Ada's relationship. Give them the chemistry of Bogart and Bergman in Casablanca (or even Fiennes and Scott-Thomas in The English Patient), and this would have been an unforgettable motion picture.One thing that cannot be denied is the effectiveness of the film's look. This is a gorgeous film to watch, with deserved credit given to cinematographer John Seale, who is an accomplished veteran behind the camera (he has shot about three-dozen pictures, including The English Patient, Gorillas in the Mist, and Witness). Although the big battle near the beginning of the film has its share of logical flaws, it is photographed in such a manner that you almost lose yourself in the spectacle of the moment. And the Romanian countryside is a workable double for mid-19th century North Carolina.Cold Mountain was adapted from the long, complex novel by Charles Frazier, and clearly proved to be a challenge for Minghella to capture on film. The movie has its share of structural problems, and may be a little longer than seems necessary, but it rarely lost my attention. I would not place this in the top echelon of end-of-the-year motion pictures, but it's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth apost-holiday expenditure of time and money.冷山"具有相同的结构缺陷作为"墨西哥"（2001 年）您忘记了所有的一部电影。