《金陵十三钗》影评：女性的光辉和英雄的悲壮_BEC初级作文

《金陵十三钗》影评：女性的光辉和英雄的悲壮

Set to open Dec. 16 locally and later this month Stateside for an Oscar-qualifying run, the picture will represent China in this year's foreign-language film race, an official endorsement that eluded Lu Chuan's more somber and nuanced Nanjing chronicle "City of Life and Death" (2009). Boasting a starry pedigree, a broad array of cross-cultural acting styles and enough English dialogue to make some viewers question its foreign-lingo designation, "The Flowers of War" is as total an antithesis to Lu's starkly realist treatment as one could imagine; still, as a rare attempt by a major mainland helmer to tackle a subject that remains an unhealed national wound, its cultural significance can be no more underestimated than its cumulative impact. 本片定于16日在中国上映，本月晚些时候也会有为冲击奥斯卡进行的放映，该片将代表中国参与今年的奥斯卡最佳外语片评选，这是官方的认可，他们并没有选择陆川那部更阴郁微妙的《南京南京》。本片强调其星光正统，广泛的跨文化表演风格的交融以及大量英语对白会让观众质疑这部电影的奥斯卡外语片属性。《金陵十三钗》恰是陆川电影中赤裸裸的现实主义的对立面；不过，作为极少数大陆巨匠涉及的这一未愈合的民族伤口的主题，本片的文化重要性与其不断累积的影响一样不容低估。

Making his way through the bombed-out rubble of Nanjing, American mortician John Miller (Bale) arrives at a cathedral to attend to a recently deceased priest. To the dismay of the church's boy warden, George, and the dozen or so adolescent girl students in his care, Miller turns out to be a genially lazy opportunist who immediately plunders the communion wine supply. 贝尔饰演的殡葬师约翰米勒穿梭在遭受炮火轰炸满目疮痍的南京城，去一家天主教堂出席一位牧师的葬礼。但是他懒惰成性盲目乐观，每天只会粗鲁酗酒，让教堂看门男孩乔治和在教堂里避难的女学生们深感失望。