电影,呼啸山庄

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电影,呼啸山庄(共10篇)

电影,呼啸山庄（一）

——呼啸不灭的人性

当爱与恨交织，结局如何?当纯真的爱情面临金钱，名利的的诱惑，为何转眼变成了赤裸裸的背叛与恶狠狠的报复?今天读了《呼啸山庄》终于让我了解了这些。

初读此书，完全出于好奇。好奇原由来自于模糊记忆中一部老电影的片段。看那电影时年纪尚小，换频道瞎混时间无意看到凤凰卫视正在放的这部片子。那个镜头把我吓住了：背景是窗外极空旷又狰狞的凸凹不平的荒野，风呼啸着高高掀起窗帘，一个长相奇特的男子半跪在地上，和看上去极虚弱的一个女的相拥而泣，悲恸之状感天动地，说的一些话也是可以使人肝肠寸断，悲至极点的一类，气氛很是压抑；音乐又深重，如浊水，回旋着淤结住，流不开化不了的让人喘不过气来。整个画面多少有点怪异的感觉，甚至让人有颤栗的恐怖感，仿佛有无形之手诡异的伸出来扼住了咽喉，使人窒息。很自然的我扫了眼片名，顿时觉得那名字也怪，叫什么《咆哮山庄》。就着孩童丰富想象力和自以为是的理解力，我当场对片名作了想当然的几种解释，——现在看了书才知道当时全是曲解了——对于这个有怪怪的名字的稀奇古怪电影我兴趣不大，转而换台寻动画片去了。可那魅影般的印象却再也挥之不去，萦绕记忆深处至今日。读了原著，忆起那个镜头，也知道《咆哮山庄》就是手中所捧的这本《呼啸山庄》了，才觉得那片子把味道拍得很浓，很真实，很到位。天性愚驽，书中个别文字其中的深意一时未能领会，可那栩栩如生的描写，饱含激情的对话，性格各异的人物，激起心中丰富的情感浪花，悲喜无法自制，竟身陷其中难以自拔。艾米莉的文字是活生生有灵性的，它们在风中呼号，在矛盾中痛苦挣扎，在痴恋中撕心裂肺，它们点化了我拙钝的心智，引着我进入那个癫狂，野性的世界，各色人物的脸或笑或泣，旋转着，在眼前变换着，冲突着，意乱神迷。寒假重读此书，再次陷入那个怪异的梦魇。

我为主人公的爱情悲剧扼腕叹息，也深深折服于作者高超的语言驾驭能力——无论是描述，还是故事脉络方面，都使我获益匪浅。

故事从呼啸山庄老主人恩萧捡回一个吉卜赛弃婴希斯克利夫说起。小希斯克利夫与凯瑟琳和辛雷登兄妹一起长大，老恩萧怜爱弃婴甚至超过了自己的孩子，哥哥辛雷登却从小就非常讨厌希斯克利夫，随着呼啸山庄主人老恩萧的离世，失去庇护的希斯克利夫常常受到新主人辛雷登的欺负。而希斯克利夫和妹妹凯瑟琳在性格方面有着惊人的相似之处。他们两人在某种程度上几乎是各自的翻版，他们无视身份的悬殊，彼此深刻认同，并深爱。

只可惜，两个人热烈深沉的爱没有修成正果，当凯瑟琳决定嫁给画眉田庄的林顿时，希斯克利夫负气出走……从两人纯洁的感情出发，凯瑟琳无疑是深爱希斯克利夫的，“世上每一个林顿都可以消失，但我绝不会放弃希斯克利夫，可是，嫁给希斯克利夫会降低我的身份，我们就得做乞丐……”作者艾米丽?勃朗特以女性特有的敏锐细腻对人性无情揭露的同时，又对爱情进行了深刻的诠释：“我对林顿的爱就好比林中的树叶，在冬天草木枯萎的时候，叶子会在时光中蜕变。而我对希斯克利夫的爱就像树下亘古不变的岩石，尽管他带给我的愉悦并不多，可是这点愉悦已经足够。”（决定嫁给林顿之前，凯瑟琳说）

艾米莉特意营造出诡异的梦魇般的夸张氛围。有些情节似乎带有非现实世界的蹊跷神秘。灵魂，呓语，幻象，噩梦使故事有了传奇色彩，淋漓尽致的展现了最深的迷恋，最痴的执著，最痛苦的挣扎。风雨，暴雪，黑夜，自然的野性与人物激荡的情怀相得映彰，荒凉的旷野深远多变，阴郁悲怆，突显了人物性格，展现来自人性的深沉之爱，让主人公像大自然一样野性无常深邃无边的爱深入人心，强烈的撼动着人的灵魂。

小哈里顿是希刺克利夫的化身，小凯蒂则传承了她母亲凯瑟琳的灵魂，而上一代人的爱，在他们身上又得到延续；希刺克利夫看到凯蒂和哈里顿眼睛里有凯瑟琳的影子，他的人性复苏了，他的生命也走到尽头，死前他在凯瑟琳生前住过的小房里，呼唤着凯瑟琳在原野上“孤单的飘荡了二十多年的魂魄”，带着笑离开了人世，到另一个世界与凯瑟琳携手而游，他们的爱以另一种方式延续，永不消亡；希刺克利夫的墓与凯瑟琳的紧紧挨在一起，“这坟墓下的人，有怎样不平静的睡眠呢”，千言万语一句话，此情绵绵无绝期。一场惊天动地，生生死死，明争暗斗，剩下宁静的旷野，柔风在草间飘动，死去的人，活着的人，情在绵亘，情无绝期。

看完整本书，心中有着一种说不出的压抑感，不禁想问，有什么东西能毁灭一段最美的爱情?金钱?利益?这些不过是表面的推辞，最大的凶手就是那颗被当时封建社会毒害的虚荣心。虚荣心是可怕的隐形敌人，它无处不在，它悄悄地藏在每个人的心中。人们潜意识认为，它一点也不可怕，就忽视了它的存在，但事实很坚定地告诉我们，它，不容忽视。

旷野，西风，远处的城镇，折的杂草，崎岖的地形，苍凉的日落，避世的生活，艰辛的奔波，寂寞的岁月，艾米莉勃朗特的一切，没有荣耀，——至少在她生的日子里——梦想夭折，饱尝世事无常，造化弄人。这位才华横溢而早逝的女子绝不会想到，她死后，自己唯一的小说《呼啸山庄》会被后人誉为“最奇特的小说”且成为十九世纪英国文学史上绝色异彩的一粒宝石，直至今日，仍以其奇丽动人的光彩使无数读者为之折服，深深惊叹于它非凡的艺术魅力。【电影,呼啸山庄】

电影,呼啸山庄（二）

(人工翻译,假一赔十)
Wuthering Heights(书名用斜体,英文没有书名号所以不加书名号) is written by Emily Bronte,who is a British writer in the 19th century.This novel is her only works.It is often adapted into televsion or film due to its purely artistic quality(不要用charm这个词).What are the differences and coincidence between the original and its adapted works on the screen.Here is a study on the principle of adapting the literatures into the screen works.
Key words:Wuthering Heights,film,literature,adapt.

电影,呼啸山庄（三）

这四本小说是我这个学期写过论文的,在语言风格上都比较简易,好读又经典,写书评或者论文的话,可选角度也比较多的.
Bram Stoker的 Dracula.是吸血股故事的始祖.很好看,文字也不难.有电影版的,不过与原著有些出入.
Murder on the Orient Express,犯罪小说女王 Agatha Christie名作.如果你不去看剧透,坚持读完小说的话,结局很精彩···有同名电影
Jerzy Kosinski的Being There,很短很精彩的一本黑色幽默小说,同名的电影也十分精彩,获奖无数.
W.Somerset Maugham 的 The Painted Veil,关于爱情,背叛与死亡.“小说《面纱》以其对人类欲望,恐惧和道德等内在世界的准确建构,而成为一部艺术的杰作.” 电影《面纱》：好莱坞视角诠释上世纪20年代的中国.

电影,呼啸山庄（四）

这句话在原著中是没有完整叙述的,原著中希斯克利夫临死之前说过的类似的关于天堂的话是：“——我告诉你我快要到达我的天堂了；别人的天堂在我是毫无价值的,我也不希罕.”（参见原著第三十四章）
具体段落为：“我并不生气,反而很感激,耐莉,”他说,“因为你提醒了我关于我所愿望的埋葬方式.要在晚上运到礼拜堂的墓园.如果你们愿意,你和哈里顿可以陪我去：特别要记住,注意教堂司事要遵照我关于两个棺木的指示!不需要牧师来；也不需要对我念叨些什么.——我告诉你我快要到达我的天堂了；别人的天堂在我是毫无价值的,我也不希罕.”
“假如你坚持固执地绝食下去,就那样死了,他们拒绝把你埋葬在礼拜堂范围之内呢?”我说,听到他对神这样漠视大吃一惊.
在电影里面,这句话被改成了“天堂不是我的家园,流泪心碎后,我要重返人间”,似乎显得更加温情一些,场景依旧未变,还是希斯克利夫临死前躺在床上说的.

电影,呼啸山庄（五）

可以看一些时事新闻,听力和翻译都会有提高的,也可看一些由名著该变的英文电影啊,像呼啸山庄,傲慢与偏见,根据剧情,翻译水平有所改善的

电影,呼啸山庄（六）

以下是个人意见,谨供参考：
读书可以使人增长见识,增加知识的拥有量,这点是没错的.但是,读书能使人进步这个说法,就很值得商榷.
首先,我们应该明确进步是何含义.如果说进步是指自身修养的提高,对事物判断能力的加强,那么,读书确实可以使人进步.
但是,当今社会上的进步不但不是这个意思,还与之南辕北辙、恰恰相反.现在,一般意义上的进步是指能够处处以迎合别人为手段,以升官进爵为目地,不惜出卖自己的灵魂来换取社会地位的上升的这样一种行为.
书读多了,自然就更加明白事理,自然就不会为五斗米折腰,自然就喜平天下坎坷,喜斥人间罪恶.凡此种种,正是当今社会之大忌、上层之大忌、进步之大忌!
所以说,在这个意义上来说,读书不能使人进步.
知道辜鸿铭吧?我不知道还有人比他读的书更多了,可是,他老先生“进步”的就非常慢,甚至经常落伍、倒退.当时,不论何种学术场合,只要辜老一到,所有的人都要退避三舍.就这么大的学问家,他都没能“进步”,我们这些还没有登堂入室的、还不知道学问是何物的毛头小子就能“进步”?
好了,闲话说了不少,我们说说读书的事吧.
简而言之,我认为,书,可以大约的分为三类：提高修养的、提高技术的、增加见闻的.
提高修养的主要包括文学的、政治的、思想的；提高技术的主要包括各种科技的；增加见闻的主要是指百科的.
人的精力有限,现在的知识太庞杂,所以,不可能一一通读,只能根据自己的喜好,择其部分读之,以管窥豹.
提高修养的,我认为读一些文学类的还有些必要,至于政治的、思想的,那都是一家之谈,用你时,一枝独秀,百鸟朝凤；不用你时,百家争鸣,落架公鸡.所以,我们不能把有限的生命投入到无限的扯淡中去,还是来些实惠的比较客观.
读文学的书主要是学学人家怎么把一个故事讲清楚,讲得吸引人.那些所谓的名著大可以看一下内容提要就放过.就拿四大名著来说吧,《西游记》读过二十回后面的就不用再读了,雷同的利害,很有些复制－粘贴的味道,无非就是某个高级领导的子弟违法,执法者无法严格执法,最后只得有领导亲自出面,带回去“严加管教”如此如此.至于吴承恩老先生写着写着,也有些江郎才尽的感觉,没有太多的新意了.至于那些妖魔鬼怪,吴老先生的想象和描写远远不如《封神演义》更能够满足大家的猎奇心里.《水浒传》也是只须看其中的若干片断即可,通读也没有多大意思,满眼都是“逼上梁山”的句子,可是,心里却对粱山头领（以宋江为代表）的做法不以为然,果真是“官府”将“好汉们（估且将这些杀人越货的不法分子成为好汉,真正的好汉没有几个）逼上梁山”的?还是在宋头领的指挥策划下,“有条件要上.没有条件创造条件也要上”的呢?难以索解.《三国演义》可以看看,但是写得太简要,大多数人物没有出处,突然的冒了出来.整部书不象是一个完整体,更像是一个个小故事的合集.相比起来,不如看《三国志》更加符合史实,也不如看《资治通鉴》那样简洁.至于《红楼梦》我不敢妄下菲薄,人物太多了,我始终没有完全记住.如果你是女孩,可以看看这部书,陪着林妹妹一起掉掉眼泪,打法一下时光；如果你是男孩,我劝你还是算了吧,现在我们的社会已经阴盛阳衰了,你就为我们老爷们保留几分阳刚之气吧!至于外国那些名著,看看电影了解一下故事就行了,原著看起来很枯燥,而且,外国人的思维方式和表述方式我们还是不太习惯的,必竟是文化背景不一样啊.
提高技术的,可以重点多读一些,必竟这将来有可能是你混饭吃的工具啊.计算机软件应用方面的书可以多啃几本,可以深一点,不要怕花费时间.至于原理方面的书可以留给那些更需要它们的人去钻研吧.再就是和自己工作对口的技术书也多读点,这是保住饭碗的基本条件.其他,诸如花鸟鱼虫、医药卫生、加工制造、擒拿格斗、星相占卜、养生娱乐等等,大可以信手拈来,不求精通只求了解即可.
对于增加见闻的书,可以不拘形式,多多易善.这方面的书市面上也是最多的.只要有闲钱就买上一本,置于床头厕后,随时拿来就可以读上几页,这类书内容往往是短小精悍,百十字就是一篇,极适合于在茶余饭后这些零碎时间里阅读.而且,可以随时中断,不会耽误其他事情.
另外,在当今这个社会环境里,法律类的书最好也读上一读,我们不去侵犯别人,但是别人来侵犯我们,一定要让他吃不了兜着走.
至于,给你推荐什么书目,这还真不好说,一个人有一个人的看法,我只能大约的给你说说我平时看的最多的书,看了不一定对你有多大好处,但绝不让你吃亏.
我常看的书：
文学类；《鲁迅杂文全集》《疯话集成》《乱语全书》《金庸小说》《王朔文集》《清代笔记体小说》《演义类说本》《资治通鉴》《二十四史》
技术类：《计算机软件应用类书》《推销口才》《鲁菜》《中药学》《玩具设计》（我的专业）
百科类：《旅游手记》《山海经》《百科词典》《典故来历类的书》《法律类的书》《鉴赏类的书》
注：我只是读,丝毫没有精通的意思和感觉,我比较喜欢读文言的或半文言的,我认为文言文言简意赅,能给人以更大的想象空间.
哈哈,罗嗦了这么多,没烦了吧?

电影,呼啸山庄（七）

Pearl Harbor consists of three incongruous acts, mashed together into an ungainly whole. It appears to be more interested in reproducing the success of Titanic, which also set a fictional love story amidst a tragic historical event, than it is in telling the story of the men and women who fought and died in the attack on Pearl Harbor. Titanic worked because the central characters were interesting, the story was cohesive, the historical events were handled respectfully and with the proper dramatic tone, and underneath it all was an intelligent reflection on the human failings that permitted such a tragedy in the first place. We learn this to emphasize the brutality of the attack, as if such emphasis were needed. Then the film forgets this point entirely, providing the fates of those men in a narrated line just before the closing credits. Why wasn"t the third act of the film about those men, instead of a rushed covering of the Doolittle raid on Tokyo, complete with overblown crash landings and an improbable engagement with Japanese soldiers? Writing off the historical aspects of the film, I am left with the love triangle that makes up the entire first act and pervades the rest of it. It is wholly uninteresting. This same story has been told better, countless times before. Not one of the three characters is fleshed out into an individual: they are bland stereotypes, dolled up to look pretty and given trite lines that they recite to convey the illusion of genuine emotion. It"s telling that it doesn"t much matter to us how the love triangle is resolved. Unless they both die, she"ll get one of them, and who cares which? Neither of the men are personable, and we surely suspect early on that her decision will be based more on fate than her own volition anyway. (In plots like this, it"s survival of the survivors.) And so, alas, we are denied even the most basic of all elements of storytelling, namely, characters making actual decisions.

电影,呼啸山庄（八）

1) I"ve no more business to marry Edgar Linton than I have to be in heaven; and if the wicked man in there had not brought Heathcliff so low, I shouldn"t have thought of it. It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that, not because he"s handsome, Nelly, but because he"s more myself than I am (86). Catherine admits to Ellen that she loves Heathcliff but cannot think of marrying him because he has been degraded by Hindley. Heathcliff hears this speech, and he leaves Wuthering Heights, not to return for three years.
2) Nelly, I see now, you think me a selfish wretch; but did it never strike you that if Heathcliff and I married we should be beggars? whereas, if I marry Linton, I can aid Heathcliff to rise, and place him out of my brother"s power? (87). Catherine tells Ellen what she believes will happen with her marriage and her relationship to Heathcliff. She really believes that her marriage to Linton will end up helping Heathcliff, which of course it does not.
3) My love for Linton is like the foliage in the woods; time will change it, I"m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath--a source of little visible delight, but necessary. Nelly, I am Heathcliff! He"s always, always in my mind--not as a pleasure, any more than I am always a pleasure to myself, but as my own being (88). The extent of the love between Catherine and Heathcliff is shown here. Heathcliff says similar things throughout the novel.
4) I"d as soon put that little canary into the park on a winter"s day, as recommend you to bestow your heart on him!...He"s not a rough diamond--a pearl-containing oyster of a rustic: he"s a fierce, pitiless, wolfish man (109). Although she loves Heathcliff, Catherine realizes the man he has become and strongly advises Isabella against getting involved with him. Isabella thinks Catherine is only jealous, and does not heed her advice.
5) You teach me how cruel you"ve been - cruel and false. Why do you despise me? Why did you betray your own heart, Cathy? I have not one word of comfort. You deserve this. You have killed yourself. Yes, you may kiss me, and cry, and wring out my kisses and tears; they"ll blight you - they"ll damn you. You loved me--then what right had you to leave me? What right--answer me--for the poor fancy you felt for Linton? Because misery, and degradation and death, and nothing that God or Satan could inflict would have parted us, you, of your own will, did it. I have not broken your heart--you have broken it; and in breaking it, you have broken mine (170). As Catherine is ill and dying she blames Heathcliff for her suffering, but he tells her that it was she that left him and that all blame for their sorrow is hers.
现在才使我明白你曾经多么残酷——残酷又虚伪.你过去为什么瞧不起我呢?你为什么欺骗你自己的心呢,凯蒂?我没有一句安慰的话.这是你应得的.你害死了你自己.是的,你可以亲吻我,哭,又逼出我的吻和眼泪：我的吻和眼泪要摧残你——要诅咒你.你爱过我——那么你有什么权利离开我呢?有什么权利——回答我——对林敦存那种可怜的幻想?因为悲惨、耻辱和死亡,以及上帝或撒旦所能给的一切打击和痛苦都不能把我们分开,而你,却出于你自己的心意,这样作了.我没有弄碎你的心——是你弄碎了的；而在弄碎它的时候,你把我的心也弄碎了.
6) ...Catherine Earnshaw, may you not rest as long as I am living! You said I killed you--haunt me, then! The murdered do haunt their murderers. I believe--I know that ghosts have wandered on earth. Be with me always--take any form--drive me mad! only do not leave me in this abyss, where I cannot find you! Oh God! it is unutterable! I cannot live without my life! I cannot live without my soul! (176). Heathcliff passionately pleads for Catherine not to leave him after she has died.
7) I recovered from my first desire to be killed by him-I"d rather he"d kill himself! He has extinguished my love effectually, and so I"m at my ease (182). Isabella has finally escaped from Heathcliff and from her love for him. She says this to Ellen as she is about to leave for another part of England.
8) The task was done, not free from further blunders, but the pupil claimed a reward, and received at least five kisses which, however, he generously returned. Then, they came to the door, and from their conversation, I judged they were about to issue out and have a walk on the moors (321). In the end of the novel Catherine has given up on being an enemy of Hareton, and instead teaches him to read. The two are friends and are engaged to be married.
9) My old enemies have not beaten me; now would be the precise time to revenge myself on their representatives-I could do it, and none could hinder me. But where is the use? I don"t care for striking, I can"t take the trouble to raise my hand. (336) Heathcliff has given up on revenge, as no longer has the will for it. It is only because of this that he is able to see Catherine again.
10) But the country folks, if you asked them, would swear on their Bible that he walks. There are those who speak to having met him near the church, and on the moor, and even within this house. Idle tales, you"ll say, and so say I. Yet that old man by the kitchen fire affirms he has seen two on "em looking out of his chamber window, on every rainy night since his death. (349). Ellen tells Lockwood about the how the country people and Joseph have seen the ghosts of Heathcliff and Catherine walking on the moors.
11）If you also exist in this world, then this world, regardless of what, has to me is meaningful. But if you not, regardless of this world has how well, he in my eye is also only a wilderness. But I likely am a fox soul wild ghost.
如果你还在这个世界存在着,那么这个世界无论什么样,对我都有是有意义的.但是如果你不在了,无论这个世界有多么好,他在我眼里也只是一片荒漠.而我就像是一个狐魂野鬼.

电影,呼啸山庄（九）

污瑟ring.只有这个办法让你知道了.

电影,呼啸山庄（十）

　　Wuthering Heights centers around the story of Heathcliff.The first paragraph of the novel provides a vivid physical picture of him,as Lockwood describes how his “black eyes” withdraw suspiciously under his brows at Lockwood’s approach.Nelly’s story begins with his introduction into the Earnshaw family,his vengeful machinations drive the entire plot,and his death ends the book.The desire to understand him and his motivations has kept countless readers engaged in the novel.
　　Heathcliff,however,defies being understood,and it is difficult for readers to resist seeing what they want or expect to see in him.The novel teases the reader with the possibility that Heathcliff is something other than what he seems—that his cruelty is merely an expression of his frustrated love for Catherine,or that his sinister behaviors serve to conceal the heart of a romantic hero.We expect Heathcliff’s character to contain such a hidden virtue because he resembles a hero in a romance novel.Traditionally,romance novel heroes appear dangerous,brooding,and cold at first,only later to emerge as fiercely devoted and loving.One hundred years before Emily Brontë wrote Wuthering Heights,the notion that “a reformed rake makes the best husband” was already a cliché of romantic literature,and romance novels center around the same cliché to this day.
　　However,Heathcliff does not reform,and his malevolence proves so great and long-lasting that it cannot be adequately explained even as a desire for revenge against Hindley,Catherine,Edgar,etc.As he himself points out,his abuse of Isabella is purely sadistic,as he amuses himself by seeing how much abuse she can take and still come cringing back for more.Critic Joyce Carol Oates argues that Emily Brontë does the same thing to the reader that Heathcliff does to Isabella,testing to see how many times the reader can be shocked by Heathcliff’s gratuitous violence and still,masochistically,insist on seeing him as a romantic hero.
　　It is significant that Heathcliff begins his life as a homeless orphan on the streets of Liverpool.When Brontë composed her book,in the 1840s,the English economy was severely depressed,and the conditions of the factory workers in industrial areas like Liverpool were so appalling that the upper and middle classes feared violent revolt.Thus,many of the more affluent members of society beheld these workers with a mixture of sympathy and fear.In literature,the smoky,threatening,miserable factory-towns were often represented in religious terms,and compared to hell.The poet William Blake,writing near the turn of the nineteenth century,speaks of England’s “dark Satanic Mills.” Heathcliff,of course,is frequently compared to a demon by the other characters in the book.
　　Considering this historical context,Heathcliff seems to embody the anxieties that the book’s upper- and middle-class audience had about the working classes.The reader may easily sympathize with him when he is powerless,as a child tyrannized by Hindley Earnshaw,but he becomes a villain when he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman.This corresponds with the ambivalence the upper classes felt toward the lower classes—the upper classes had charitable impulses toward lower-class citizens when they were miserable,but feared the prospect of the lower classes trying to escape their miserable circumstances by acquiring political,social,cultural,or economic power.

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