2岁半的猫
电影《钢琴家》观后感一部好的艺术作品，在于它所呈现的艺术魅力可以让观赏者从中得到真正的人生体验，电影《钢琴家》的艺术魅力是深入人心的。 该影片讲的是一位犹太民族的钢琴家在波兰遭到纳粹破迫害的故事。他是波兰人但同时他又是犹太人，在德国占领波兰的局面下，一个犹太人的身份，就注定他将有磨难的一段人生经历。那段死里逃生的回忆，他永生难忘。是痛苦！现实未免太残酷，他只不过是一个文质彬彬的钢琴家，他是一个普普通通的波兰人，只是因为他犹太人的血统，他受尽了磨难，亲人惨遭杀害，全部死去，他也在恐惧中挣扎、死里逃生，他只想弹好手里的钢琴，他对政治淡漠，但注定，他将拥有一段噩梦。 他和他的家人首先被关在犹太人隔离区内，他们开始受到各种各样种族歧视、不公平的待遇。后来，他们见到德国纳粹杀害自己的同胞，他们像待宰的羔羊，担心自己可能被杀害。恐惧，笼罩了他们每一个人。他们不敢在德国人面前愤怒，因为纳粹手里有枪，随时会杀了他们。后来，他们被关进了隔离区，注定了钢琴家和他的家人会经历一段悲惨的命运，后来由于种种原因，他和他的家人被分开，再后来他通过朋友和不认识的战友、犹太人、波兰人的帮助在德国纳粹残酷的密密麻麻的枪口下侥幸存活了下来。该影片从来不缺乏真实情感的感性流露。当他们一家人从隔离区转移的时候，一家人坐在将要里离开的广场上，一家人短暂的团聚。钢琴家的父亲，一位饱经沧桑的老人，用二十波币买了一块糖，分了若干块，家里人一人一块。在未知的死亡面前，他们依然眷顾亲情。此情此景，是令人心酸的，但也让我们体会到了亲情的伟大。 最动人一幕，在影片最后，在钢琴家逃难的废墟里，他碰到了一位德国军官，钢琴家很恐惧，以为德国人要杀他，哪知在为德国人弹一曲钢琴曲后，命运峰回路转，德国军官非但没杀他，而且还送给他吃的的，保住了他的命。我想，这正是人间大爱吧，战争可以带来杀戮，但是战争阻断不了人类的仁慈与善良，人类的善良与良知，依旧让人热泪盈眶。人类虽然创作了千千万万、数不清的财富，在当今物欲横流的社会，人们面对着越来越多的诱惑和挑战，人们在某种程度上，情感会有某种程度的普遍缺失，在本片中，情感与情感的交融，带给了我们太多的思考。
迷路的豆豆
The Szpilman family rejoices to hear that Great Britain and France have joined the war and Poland is no longer alone, but soon thereafter they've been moved to a 'new' apartment and watch in horror as the wall which will define the Warsaw Ghetto is erected outside their window. Only one of them, Wladyslaw (Adrien Brody, "Summer of Sam"), will survive in Roman Polanski's 2002 Palme d'Or winner, "The Pianist."Polanski is quick to establish Wladyslaw's determination not to be silenced by his continuing to play Chopin as the recording studio he inhabits is destroyed by German bombs. Brody quietly and confidently inhabits Szpilman in one of the best and most rigorously sacrificial (Brody both learned to play the piano and lost 30 pounds for the role) performances of the year. Polanski, bringing his own Holocaust survival memories to the table, has made his best film since 1974's "Chinatown."As adapted from Szpilman's book by Ronald Harwood ("Cry the Beloved Country"), "The Pianist" is divided into three sections. In the first the Szpilman family is established - loving, genteel parents (Frank Finlay, "Dreaming of Joseph Lees" and Maureen Lipman, "Solomon and Gaenor"), rash older brother Henryk (Ed Stoppard, "The Little Vampire"), sensible sister Regina (Julia Raynor, "Topsy-Turvy") and charming younger sister Halina (Jessica Kate Meyer). The closeness of the family is underlined when Henryk and Halina, who had been weeded out of the passengers being sent to Treblinka, choose to rejoin the family instead. The film's understated ability to wrench the heart is effected when Wladyslaw simply tells Halina that he wished he knew her better. The horrors, like a woman wailing on the platform because she suffocated her baby attempting to keep it quiet in their hiding place, are more effective for Polanski's shooting them on a fabulously bright, sunny day.This act is closed when Wladyslaw is saved by former friend Itzak Heller (Roy Smiles), now a Nazi collaborator working as an auxiliary policeman. Polanski just moves on - the other members of the Szpilman family are never referred to again and their erasure is all the more poignant for it. Szpilman's luck works again when an old colleague and her husband hide him in an apartment from which he can view the Ghetto uprising, but a profiteering pal leaves him for weeks at a time with no food. A noisy accident uncovers his presence to nosy neighbors and Szpilman is forced to evacuate. He's hidden again, but eventually the starving man joins the living dead who wander the shell of a bombed out city in a bleak winter landscape. Nested in the attic of an abandoned manse, Szpilman is discovered by a German officer (Thomas Kretschmann, "U-751," providing able support), who feeds and clothes him in appreciation of his musical talent. "The Pianist" will constantly be compared to "Schindler's List," but where that film accentuated its horrors, this one instills them more deeply by presenting their everydayness. A family of six share one caramel before being scattered to the winds. A woman crumples in the street, shot. An old man curries favor by playing the fool and the Germans so enjoy his mugging and scraping they force an entire group of Jews to dance in the street.Technically, the film has a bright crystalline quality beginning with Pawel Edelman's stunning deep focus photography. His work is so crisply detailed that during Szpilman's impromptu concert for Captain Hosenfeld he captures light shining through the cartilage of Brody's nose, emphasizing the man's etherealness. Sound (Jean-Marie Blondel) is also notable as Szpilman catches conversations next door, or walks through a hole in a wall, his ears muffled and ringing from the blast. Visual effects include terrific matte work to convey Warsaw's devastation."The Pianist" is a powerful achievement, an epic tale of a musical survivor that's strength lies in its hushed tone.
霸气甫爷
--------------------------------------------------------------------------------英文影评He's a man so brave, that he can play the imaginary piano when exploded with the ship he was born, lived and died in. Yet he's a man so scared, that he cannot face the infinite city life we are living everyday. He's a man so intelligent, that he can play the piano as if he has four arms (or I'd rather say, he has God's arms). Yet he's a man so stupid, that he chose to gone with the wind while he's other choice could be marrying a beautiful woman and having a child. He's a man so perceptive, that he could use his music language to describe exactly others' feelings. Yet he's a man so insensitive that he'd rather disappear after a gentle kiss on his beloved while she's asleep than unburden himself and tell her "ILU". But one thing is for sure: this man is a real artist--pianist. Only a man like him can dance with the piano in a terrifying storm. Only a man like him can give up the first two bouts of a duel, and beat the competitor entirely, convincingly, potently in the last bout. Only a man like him... can have such a beautiful story to tell... This man is Danny Boodmann T.D. Lemon Nineteen Hundred, who is also known as simply "1900". A man never existed. He has never set foot on land in his entire life. No ID. No passport. No Visa. No parents. No birthday. Nothing in the world belongs to him except his music. So he played. For the first class guests. For the third class members. For the girl at the window. For the darkness of the night. For the heartbeat of his own. For the sea-- his eternal home. He had once wanted to get off the ship. To meet his girl and to hear the voice of the sea, as he always wanted to. He hugged friends goodbye and waved and went down. But his pace became slower and slower, and finally stopped. As he described at the end of the movie: "Nineteen Hundred: All that city. You just couldn't see the end to it. The end? Please? You please just show me where it ends? It was all very fine on that gangway. And I was grand too, in my overcoat. I cut quite a figure. And I was getting off. Guaranteed. There was no problem. It wasn't what I saw that stopped me, Max. It was what I didn't see. You understand that? What I didn't see. In all that sprawling city there was everything except an end. There was no end. What I did not see was where the whole thing came to an end. The end of the world... Take a piano. The keys begin, the keys end. You know there are eighty-eight of them, nobody can tell you any different. They are not infinite. You are infinite. And on these keys the music that you can make is infinite. I like that. That I can live by. You get me up on that gangway and you're rolling out in front of me a keyboard of millions of keys, millions and billions of keys that never end, and that's the truth, Max. That they never end. That keyboard is infinite. And if that keyboard is infinite, then on that keyboard there is no music you can play. You're sitting on the wrong bench. That's God's piano. Christ! Did, did you see the streets? Just the streets?There were thousands of them! And how do you do it down there? How do you choose just one? One woman, one house, one piece of land to call your own, one landscape to look at, one way to die... All that world is weighing down on me, you don't even know where it comes to an end, and aren't you ever just scared of breaking apart at the thought of it? The enormity of living it? I was born on this ship, and the world passed me by, but two thousand people at a time. And there were wishes here, but never more than fit between prow and stern. You played out your happiness, but on a piano that was not infinite. I learned to live that way. Land? Land is a ship too big for me. It's a woman too beautiful; it's a voyage too long, a perfume too strong. It's a music I don't know how to make. I could never get off this ship. At best, I can step off my life. After all, I don't exist for anyone. You're an exception, Max, you're the only one who knows I'm here. You're a minority, and you better get used to it. Forgive me, my friend, but I'm not getting off." He didn't get off. That's what he said and he did. As I mentioned above, he died with the ship, in the explosion. I believe at this point of the movie, no body can hold their tears back. By the way, this movie is Directed by Giuseppe Tornatore, who is also the director of Nuovo cinema Paradiso and Malèna. Some people say the legend of 1900 is the director's compromise to Hollywood-style-commercial movie. Well, I know nothing about this kind... It's a excellent movie. Much I could say.
