《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

Scene by scene, "The Flowers of War" is an erratic and ungainly piece of storytelling, full of melodramatic twists and grotesque visual excesses, which are nonetheless delivered with startling conviction. Zhang has no interest in sparing the viewer's sensitivity, and his willingness to push past the limits of good taste is what paradoxically lends his film a curious integrity. 金陵十三钗的叙事并不规则，故事充满夸张的曲折和怪诞的视效。张艺谋让观者深陷感性情感中，而他将过去的美学品位推向极致的意愿使电影成为矛盾的整体。

《金陵十三钗》影评：女性的光辉和英雄的悲壮2

On the surface, the most problematic element of Liu Heng's screenplay (adapted from Yan Geling's novel "13 Flowers of Nanjing") is the familiar manner in which it uses a white American character as an entry point for Western audiences. Yet Miller turns out to be just one figure in a panorama that distributes dramatic weight evenly across the board, and allows the students and especially the courtesans to perform unexpected, deeply moving acts of decency and self-sacrifice. While not every character is individuated in the film's large ensemble, the viewer emerges with a sense of a vibrant and varied human tapestry whose colors glow all the brighter in the wake of impending catastrophe. 表面上看，刘恒剧本（节选自严歌苓的小说《金陵十三钗》）的问题在于用一个熟悉的美国白人套路作为连接西方观众的桥梁。但是米勒（贝尔饰演的角色）只是作为一个充满戏剧性的角色为整部影片的平衡性添彩，预留了空间给女学生和妓女的出人意料的表演，尤其是妓女们的高尚和自我牺牲令人动容。在群像塑造上，并不是每个角色都有个性化表现，观者能感受到在灾难发生前愈加光辉、生动而丰富的人性脸谱。