last week, the american film institute released its list of the 100 best american films of all time. not surprisingly, gone with the wind placed in the top 10 (#4, in fact). however, although this epic romantic melodrama is undoubtedly one of the most popular and beloved motion pictures ever to grace the silver screen, it is also arguably the most overrated. gone with the wind is a very good movie, perhaps bordering on being great, but its subject matter and running time (which is easily 60 minutes too long) argue against its status as a masterpiece. as for its high placing on the afi#39;s list... it isn#39;t the only travesty on that roster, but it is one of the most obvious.

gone with the wind is, simply put, a tale of two halves. the movie is divided by an intermission into a pair of roughly-equal segments. the first, which is brilliant and consistently captivating, covers the time period of the civil war, beginning shortly after the election of abraham lincoln, and ending during sherman#39;s march through atlanta. the post-intermission half, which dishes out the suds, picks up at the end of the civil war and concludes about eight years later. this portion of gone with the wind, while still retaining a degree of appeal and narrative interest, spins its wheels frequently.

nevertheless, viewing gone with the wind on television pales in comparison to seeing it projected on a motion picture screen. new line cinema has chosen to re-release the film (which is now in its sixth major revival) for its 59th anniversary. (why not wait a year for the 60th?) anyone who loves movies but has only seen this one on tv or video is heartily encouraged to visit the nearest participating venue. theatrically, gone with the wind is an entirely different experience from its small-screen counterpart; some of the second-half narrative tedium is effaced by the glorious visuals. with a restored three-strip technicolor print that preserves all of the original#39;s deep, vibrant colors and digitally-enhanced sound, this picture has never looked or sounded better.

gone with the wind has one of the best-known storylines of any film, due in large part to the popularity of the source material, margaret mitchell#39;s best-selling 1936 book. it#39;s essentially a sumptuous soap opera set around civil war times in the deep south. the main character is scarlett o#39;hara (vivien leigh), the spoiled, manipulative daughter of an irish immigrant plantation owner (thomas mitchell, who would later play uncle billy in frank capra#39;s it#39;s a wonderful life). scarlett has two sisters, but she is by far the most spirited of the three o#39;hara girls, and her father, seeing her as his successor, teaches her lessons about the importance of the land. "it#39;s the only thing that lasts... the only thing worth fighting for," he comments in the face of war.

scarlett is secretly in love with ashley wilkes (leslie howard), who is about to marry the gentle, demure melanie hamilton (olivia de havilland). when scarlett confesses her love to ashley, he admits his feelings for her, but notes that melanie will make a much better wife. immediately after this meeting, scarlett has her first encounter with the irrepressible rhett butler (clark gable), the cynical, smart hero who eventually falls in love with her. they are two headstrong likes who simultaneously repel and attract one another. when scarlett remarks, "you, sir, are no gentleman," rhett#39;s smiling, easy response is, "and you#39;re no lady."

the bulk of the film follows a romantic quadrangle as it unfolds against the backdrop of war and reconstruction in and around atlanta and the o#39;hara plantation, tara. scarlett is in love with ashley, or thinks she is, but he won#39;t leave his wife. melanie loves both her husband and scarlett, who improbably becomes her best friend. rhett is smitten with scarlett, and she is clearly interested in him, but the real question is how long it will take for her to recognize the depth of her feelings. ultimately, when rhett has finally had enough, he walks out of her life after answering "frankly, my dear, i don#39;t give a damn" to her plaintive query about what she#39;s supposed to do without him.

the pre-intermission portion of gone with the wind, which runs about 115 minutes, is glorious from both a visual and an emotional standpoint. it#39;s a grand tale of love and loss in the midst of this country#39;s most bitter war. most importantly, it shows scarlett#39;s development from a vain, spoiled brat into a hardened, determined young woman. her relationship with rhett is there, but kept carefully in the background. there is sadness, humor, and a number of breathtaking shots of scarlett silhouetted against a reddish sunset or the backdrop of atlanta in flames. the film#39;s most lingering image -- that of thousands of confederate wounded paving an atlanta street -- occurs during this part of the movie.

the second half, with its repetitive concentration on scarlett#39;s back-and-forth, do-i-love-him-or-not relationship with rhett, is less successful. this stuff is real soap opera material, and, even as well- acted and well-presented as the narrative is, there#39;s no mistaking it for anything else. if it didn#39;t run on for so long, it would be a lot more bearable, but gone with the wind threatens to wear out its welcome long before the end title appears. the problem is that the bulk of the story is really told in the first half, so there#39;s a lot of filler in the post-intermission material.

gone with the wind stands as a romantic monument to the old south -- an homage to an era and a lifestyle long gone. the opening title states: "there was a land of cavaliers and cotton fields called the old south. here in this pretty world, gallantry took its last bow. here was the last ever to be seen of knights and their ladies fair, of master and of slave. look for it only in books, for it is no more than a dream remembered, a civilization gone with the wind." this clearly illustrates where the film#39;s sympathies lies, and it isn#39;t with the often-grim plight of the slaves (in fact, slavery is largely treated as a neutral, or even benevolent, institution).

one of the tests of the lasting impact of any film is determining whether it#39;s still effective decades after its initial release. gone with the wind looks so good that it is surprising to consider its actual age. it#39;s hard to believe that many of the people involved with this film have long since died. of course, period pieces should not be constrained by the era in which they#39;re made, only by the one in which they#39;re set. the storyline, while "progressive" and "modern" for the 1930s, is a little tame for the 1990s (hence the mpaa#39;s "g" rating), but, in its three-dimensional depiction of scarlett and rhett, it#39;s rarely naive. the dialogue is often brilliant, and some of the rhett/scarlett exchanges are particularly clever. gone with the wind avoids becoming hopelessly maudlin by peppering the lengthy storyline with a variety of lively and humorous sequences.

probably as much has been written about scarlett and rhett as about casablanca#39;s rick and ilsa. vivien leigh and clark gable were perfectly cast in the leading roles -- she was a relative unknown who was "discovered" almost by accident after an exhaustive casting period; he was an established idol. they fit together perfectly, and, while their chemistry isn#39;t as overwhelming as that of bogart and bergman, it#39;s pretty close. as with all couples, their glances and body language say as much or more than their words, and, especially in scarlett#39;s case, are always more truthful. the characters are fascinating, both on their own and in their interaction with each other. scarlett is a devious manipulator with a dangerous charm (beware her when she bats her eyelashes); rhett sees through her at every turn, but, even as smart as he is, he can#39;t help falling for her.

there are a number of noteworthy supporting players. the two with the most screen time (aside from gable and leigh) are leslie howard and olivia de havilland. both portray low-key characters, but do it so well that we develop a deep sympathy for them and their plight. when it comes to the games of the heart engaged in by scarlett and rhett, ashley and melanie are out of their league. another standout is hattie mcdaniel, whose brilliant mammy (the housekeeper at tara) steals scenes from the more prominent characters. mcdaniel brings mammy to life, and, while she#39;s not three-dimensional, she#39;s real. mammy is also evidence that gone with the wind was capable of transcending (at least in part) the too-easy black stereotypes that were in evidence during the 1930s.

when discussing the creative forces behind gone with the wind, one rarely hears the name of victor fleming (the wizard of oz), the credited director. (he was actually one of four men to helm the project.) instead, gone with the wind is referred to as "a david o. selznick production," because selznick was the driving force behind the movie#39;s development. as producer or executive producer, selznick was instrumental in making over 50 films, including titles like king kong, a tale of two cities, a star is born, rebecca, spellbound, and the third man. with four directors, over a dozen uncredited screenwriters, and several cinematographers, selznick proved to be the creative glue that held gone with the wind together. this was his child -- an obsession that consumed him for years.

to date, no film has sold more box-office tickets than gone with the wind. domestically, the tally almost doubles that for the phenomenally-popular titanic. of course, when the movie was first released, it wasn#39;t just another motion picture -- it was a spectacle, an event. even though the habits of movie- goers have changed over the years, it#39;s easy to see why this film provoked such an outpouring of praise and adulation during its initial release, and why its stature has grown with the passage of decades. gone with the wind has flaws, but it#39;s still undeniably a classic and a legend.

飘的英文读后感篇2

film review of pride and prejudice

pride and prejudice is a famous classic written by jane austen. i was attracted by the characters and plots of the film adapted from the novel.

elizabeth is the heroine of the story. when she meets darcy, a handsome, rich but arrogant man, on the party for the first time, she is dissatisfied with the proud manner of darcy. darcy looks down on those who are in a lower social class,

including elizabeth. however, after getting to know the courage, independence and confidence of elizabeth, he almost falls in love with her. but elizabeth believes the lies of wickham which causes her great prejudice to darcy. she rejects darcy's propose marriage to protect her self-respect. finally, darcy goes away because he couldn't tolerate elizabeth's sisters' vulgar manners. he writes a long letter to explain his thoughts and love to elizabeth. after reading it, elizabeth feels guilty about

misjudging darcy and regrets turning him down. as time goes away, darcy gradually improves his pride and keeps helping elizabeth's family out from troubles. at last, elizabeth removes the prejudice to darcy and accepts his propose marriage.

from the film i learn that we can't judge a man immediately by the first impression. if we are controlled by our subjective senses, it will easy cause prejudice and

misunderstanding and probably influent the developments of many events. to avoid this situation, we need more communication to understand others deeply by ourselves.

飘的英文读后感篇3

i had heard of lev. tolstoy wrote this great book "war and peace", so i read this book with reverence, after reading this book my mind is full of thoughts, this book really reflects all the contradictions and changes of 19th century russian society.

paul christian okonsky book mainly introduces to us, don't zuhuofu, rostov, four noble family in west china and of life in peacetime to plot clues, fully show the 1805 ~ 1820, the russian president allied with france to resist touching story, the french army invaded russia, moscow fire, all the russian people are very angry, no longer for the sake of the french army invaded his homeland, the national people's unite together, work together, all the soldiers on the battlefield to kill, while many people died in the battlefield, but they don't have a complaint, because they loved their country, to the country's reputation, they are willing to sacrifice, from here, i experienced the patriotism of the soldiers, praising the great spirit of russian heroism, it is the spirit of the wise napoleon against the russian army, the russian army was unstoppable, napoleon had to lead his army, fled in a panic.

some of the protagonists in this book also left a deep impression on me: prince andrey, introverted and determined, sacrificed his young and precious life for the war; pierre was frank. he was not beguiled by his father's fortune, but decided to join the army; kutuzov was an excellent commander, and led his men to victory; the heroine natasha is an emotional person who loves nature.

after reading this book, i know how important peace is, we don't let war destroy our happiness, let the harmony over this happy world.

飘的英文读后感篇4

the hero holton, a complicated and contradictory young man, came into my sight with his mouth full of dirty words. his cynicism caused a negative rebellion. he believed that no one in the adult society was credible, all "false hypocrite", and he longed for simplicity and sincerity, but all was false and deceptive, and he was unable to change the situation, and finally compromised and even fled to the real society. in the real world, go to the backcountry to pretend to be a deaf and dumb person. but he has a childlike innocence, a pursuit of a better life and a noble ideal. in order to protect the children from falling off the cliff, he also longed to grow up as a "catcher in the wheat field", giving out the voice of "saving the children". in a word, he is a lonely and struggling man, but he is a man who demands the perfect man in the world and is helpless to yield to the reality. the kind and uneasy situation of the contradictory man is jumping, bleeding, and my eyes full of sympathy.

holtons actions and speech actions are like the "he" that we have gone through: cynical, cynical, but conscientious and loving, leng son, he always speaks aloud, sometimes aloud, his restless heart of youth.

reading novels, i seem to read the confusion and dissatisfaction of teenagers on their way to life. looking back at our current life, are there any struggles like holton? there must be a lot of it. the confusion of puberty must be faced. everyone in youth is probably holton. they walked through a lot of curves, narrow roads, dangerous roads, even cliffs, and then stood, sprint and run in a bitter struggle, and finally set foot on the road of life. perhaps hand and foot injury, perhaps head broken blood, perhaps exhausted, but finally will come over, his face has a firm smile.

the catcher in the rye is a twilight of youths lost journey. the confusion and loss of holton are always the confusion and loss of the growing people. i hope that the realities of holton will correct the deviations in the journey, step on the right track, and walk on the journey of life.

飘的英文读后感篇5

oliver twist, one of the most famous works of charles dickens’, is a novel reflecting the tragic fact of the life in britain in 18th century.

the author who himself was born in a poor family wrote this novel in his twenties with a view to reveal the ugly masks of those cruel criminals and to expose the horror and violence hidden underneath the narrow and dirty streets in london.

the hero of this novel was oliver twist, an orphan, who was thrown into a world full of poverty and crime. he suffered enormous pain, such as hunger, thirst, beating and abuse. while reading the tragic experiences of the little oliver, i was shocked by his sufferings. i felt for the poor boy, but at the same time i detested the evil fagin and the brutal bill. to my relief, as was written in all the best stories, the goodness eventually conquered devil and oliver lived a happy life in the end. one of the plots that attracted me most is that after the theft, little oliver was allowed to recover in the kind care of mrs. maylie and rose and began a new life. he went for walks with them, or rose read to him, and he worked hard at his lessons. he felt as if he had left behind forever the world of crime and hardship and poverty.

how can such a little boy who had already suffered oppressive affliction remain pure in body and mind? the reason is the nature of goodness. i think it is the most important information implied in the novel by dickens-he believed that goodness could conquer every difficulty. although i don’t think goodness is omnipotent, yet i do believe that those who are kind-hearted live more happily than those who are evil-minded.

for me, the nature of goodness is one of the most necessary character for a person. goodness is to humans what water is to fish. he who is without goodness is an utterly worthless person. on the contrary, as the famous saying goes, ‘the fragrance always stays in the hand that gives the rose’, he who is with goodness undoubtedly is a happy and useful person. people receiving his help are grateful to him and he also gets gratified from what he has done, and thus he can do good to both the people he has helped and himself.

to my disappointment, nowadays some people seem to doubt the existence of the goodness in humanity. they look down on people’s honesty and kindness, thinking it foolish of people to be warm-hearted. as a result, they show no sympathy to those who are in trouble and seldom offer to help others. on the other hand, they attach importance to money and benefit. in their opinion, money is the only real object while emotions and morality are nihility. if they cannot get profit from showing their ‘kindness’, they draw back when others are faced with trouble and even hit a man when he is down. they are one of the sorts that i really detest.

francis bacon said in his essay, ‘goodness, of all virtues and dignities of the mind, is the greatest, being the character of the deity, and without it, man is a busy, mischievous, wretched thing, no better than a kind of vermin.’

that is to say a person without goodness is destined to lose everything. therefore, i, a kind person, want to tell those ‘vermin-to-be’ to learn from the kind oliver and regain the nature of goodness.

飘的英文读后感模板5篇相关文章：

飘的英文读后感模板5篇