急求《西雅图夜未眠》影评（英语）Regardless，of，how，cyberspace，has，seemingly，diminished，it...
急求《西雅图夜未眠》影评（英语）
Regardless of how cyberspace has seemingly diminished it's size, the world is still an awfully big place, and it's impossible for any one person to occupy more than a minuscule portion of it at any given time. So it's imperative that individuals find that special niche for themselves, that little piece of the world that becomes their own, where they can live and love and engage in the pursuit of happiness. And once that `perfect' world is created, it's devastating when something upsets the balance, as in the case of this film, the death of a spouse. When the love of a lifetime is abruptly taken away, how does one recover? Can one recover? How do you go on when your heart has been removed? All valid questions that are explored and addressed in Nora Ephron's touching and romantic `Sleepless In Seattle,' starring Meg Ryan and Tom Hanks. The film begins on a somber note, with the funeral of Maggie Baldwin (Carey Lowell), respectively the wife and mother of Sam Baldwin (Hanks) and his son, Jonah (Ross Malinger). Maggie was the love of Sam's life, and inconsolable after her passing, he decides the best thing for himself and his son is to move to another city and try for a fresh start. So they head west as far as possible, to Seattle, where Sam remains unable to emerge from the funk of his loss. Christmas and New Year's is especially tough on Sam and Jonah, and around this time Jonah happens to tune into a late night talk show featuring Dr. Marcia Fieldstone (Caroline Aaron), whose job is to help her listeners with their problems. Jonah calls her and tells their story, then takes the phone to his dad in the next room, and in deference to his son, Sam consents to talk about his situation on National radio. In the Baltimore area, writer Annie Reed (Ryan) is listening, and touched by the sincerity in Sam's voice, she cajoles an assignment that subsequently takes her to Seattle, where she attempts to hook up with Sam, a man she knows only as a needful, disembodied voice from the radio.
So begins a romantic odyssey that probably could only happen in the movies, but it makes no difference because in Ephron's capable hands, this story works, and it works beautifully. There's a line in the movie, in fact, that kind of sums it all up: Becky (played by Rosie O'Donnell) says something to the effect to Annie that, `You don't want love, you want `movie' love. And maybe that's why this movie is so endearing and enduring; it's about the kind of love you find in a perfect world, the kind of love everybody wants and needs (though few will admit it, even to themselves) but rarely finds, and Ephron knows exactly how to make it connect with her audience. It has to do with understanding basic human needs and knowing how to translate it all into a cinematic art form that will effectively reach those who see it. And Nora Ephron does it as well-- or possibly better-- than any director before or since, and as she proved later with `You've Got Mail,' this film was no fluke; she knows her stuff, and she knows how to deliver it. It's intentionally and shamelessly sentimental, but rather than maudlin, Ephron hits just the right emotional tone, and it's perfect, from the romance to the humor she injects at just the right moment to offset the drama, to the music-- using just the right song at just the right time-- that does so much to enhance the story.
So begins a romantic odyssey that probably could only happen in the movies, but it makes no difference because in Ephron's capable hands, this story works, and it works beautifully. There's a line in the movie, in fact, that kind of sums it all up: Becky (played by Rosie O'Donnell) says something to the effect to Annie that, `You don't want love, you want `movie' love. And maybe that's why this movie is so endearing and enduring; it's about the kind of love you find in a perfect world, the kind of love everybody wants and needs (though few will admit it, even to themselves) but rarely finds, and Ephron knows exactly how to make it connect with her audience. It has to do with understanding basic human needs and knowing how to translate it all into a cinematic art form that will effectively reach those who see it. And Nora Ephron does it as well-- or possibly better-- than any director before or since, and as she proved later with `You've Got Mail,' this film was no fluke; she knows her stuff, and she knows how to deliver it. It's intentionally and shamelessly sentimental, but rather than maudlin, Ephron hits just the right emotional tone, and it's perfect, from the romance to the humor she injects at just the right moment to offset the drama, to the music-- using just the right song at just the right time-- that does so much to enhance the story.
求『西雅图不眠夜』的一篇英文影评。
『西雅图不眠夜』的一篇英文影评。二百词以上。如果写的好分数我可以追加！That's for "Sleepless in Seattle"（西雅图未眠夜)
Review/Film; When Sam Met Annie, Or When Two Meet Cute
By VINCENT CANBY
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Three thousand miles away, Annie Reed (Meg Ryan), a successful feature writer for The Baltimore Sun, is driving to Washington to spend the holidays with her wimpish fiance's family. Annie hears Sam's confession and is so moved that she nearly drives off the road. She's bewitched by something about his voice, the ill-concealed lump in his throat, his choice of cliches. She doesn't immediately know it, but she's in love and will one day wind up with Sam to live in the 1990's version of the kind of bliss that old-fashioned movies used to celebrate.
Evoked by "Sleepless in Seattle," through clips and numerous references in dialogue and soundtrack music, is Leo McCarey's sentimental 1957 classic "An Affair to Remember," a movie that instantly reduces every woman in the new film to tears. "An Affair to Remember" serves as an interesting yardstick for "Sleepless in Seattle." It a reminder of just how much smaller and more self-conscious romantic movies are today than they were when they were played by such icons as Cary Grant and Deborah Kerr, when love could be a matter of life and death, and when fate, not an interfering television-bred child, shaped the outcome.
It's clear that Ms. Ephron understands this. "Sleepless in Seattle" is so cannily concocted that it somehow manages to stand above the sitcom world in which it is set. You won't for a minute misidentify that world. It's there in the unquestioned material perks enjoyed both by Sam and Annie, in the picturesque houseboat on which Sam and Jonah live in Seattle, in the tone of the wisecracks delivered by Annie's pal Becky (Rosie O'Donnell) and even in the nature of Sam's grief.
Sam's beautiful first wife, Maggie (Carey Lowell), materializes from time to time in fantasy sequences, but the movie makes sure that his grief is not contagious. The audience knows, from Ms. Lowell's billing if nothing else, that Maggie is history, that Sam has a woman with co-star status waiting for him around the corner. The movie uses grief, but makes it safely meaningless. This is, after all, the world of sitcoms.
Mr. Hanks and Ms. Ryan are terrifically attractive, each somehow persuading the audience of the validity of all of the things that keep them apart and then miraculously bring them together. Annie's fiance, Walter (Bill Pullman), is a comic nerd for our time. He's not ridiculous in the manner of the other men once played by Ralph Bellamy, but he does have a large problem with allergies. Walter is allergic to almost everything.
No great effort is made to explain how Annie could have fallen in love with him in the first place. He's a plot function, as is Victoria (Barbara Garrick), the woman Sam courts halfheartedly in Seattle. She is pretty and has a manic giggle that would curdle hollandaise sauce. The film was made by the book.
Yet Ms. Ephron and her associates create a make-believe world so engaging that "Sleepless in Seattle" is finally impossible to resist. Both Mr. Hanks and Ms. Ryan bring substance to their roles. The film will probably call up memories of "When Harry Met Sally," although "Sleepless in Seattle," compared with that denatured version of a Woody Allen comedy, looks like a stunning original.
It's not easy keeping apart two lovers who the film tells you are made for each other at the beginning, but the digressions are often extremely funny. The manner by which they are united is outrageous and painfully cute, but finally satisfying. Ms. Ephron makes Machiavellian use of soundtrack music.
There's no doubt how you're supposed to respond when you hear "Over the Rainbow," "Star Dust," "Bye-Bye, Blackbird" and "Jingle Bells." Every now and then, however, there is a comic invention that lifts the movie up, up and away, as with the choices of "As Times Goes By," which more or less opens the film, and "Make Someone Happy," which ends the movie, both sung by the incomparable, gravel-voiced Jimmy Durante in a way that puts the lyrics in movingly bold relief.
In a way, "Sleepless in Seattle" is vamping for time from start to finish. It knows that it couldn't possibly show us (at least, for any length of time) a Sam and Annie together as fully in love as they are apart, before they've met. That would have to be an anticlimax. The movie, in which pacing is all, stops on a dime.
"Sleepless in Seattle" has been rated PG (Parental guidance suggested). It includes some vulgar language. Sleepless In Seattle Directed by Nora Ephron; screenplay by Ms. Ephron, David S. Ward and Jeff Arch, based on a story by Mr. Arch; director of photography, Sven Nykvist; edited by Robert Reitano; music by Marc Shaiman; production designer, Jeffrey Townsend; produced by Gary Foster; released by Tri-Star Pictures. Running time: 100 minutes. This film is rated PG. Sam Baldwin . . . Tom Hanks Jonah Baldwin . . . Ross Malinger Annie Reed . . . Meg Ryan Suzy . . . Rita Wilson Greg . . . Victor Garber Rob . . . Tom Riis Farrell Maggie Baldwin . . . Carey Lowell Walter . . . Bill Pullman Barbara Reed . . . Le Clanche du Rand Cliff Reed . . . Kevin O'Morrison Dennis Reed . . . David Hyde Pierce Betsy Reed . . . Valerie Wright Becky . . . Rosie O'Donnell Jay . . . Rob Reiner
Review/Film; When Sam Met Annie, Or When Two Meet Cute
By VINCENT CANBY
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Nora Ephron's "Sleepless in Seattle" is a feather-light romantic comedy about two lovers who meet for the first time in the last reel. It's a stunt, but it's a stunt that works far more effectively than anybody in his right mind has reason to expect. Not since "Love Story" has there been a movie that so shrewdly and predictably manipulated the emotions for such entertaining effect. Be warned, though: "Sleepless in Seattle" is a movie you may hate yourself in the morning for having loved the night before.
The situation is this: the recently widowed Sam Baldwin (Tom Hanks), a successful architect, has moved to Seattle from Chicago to try to assuage his sorrow. One night, his 8-year-old son, Jonah (Ross Malinger), calls a late-night radio talk-show psychiatrist. It is Christmas, and the boy is worried about his dad. The furious, embarrassed Sam then gets on the phone. Before he realizes it, he's talking about his perfect marriage before a large portion of the United States population.
Three thousand miles away, Annie Reed (Meg Ryan), a successful feature writer for The Baltimore Sun, is driving to Washington to spend the holidays with her wimpish fiance's family. Annie hears Sam's confession and is so moved that she nearly drives off the road. She's bewitched by something about his voice, the ill-concealed lump in his throat, his choice of cliches. She doesn't immediately know it, but she's in love and will one day wind up with Sam to live in the 1990's version of the kind of bliss that old-fashioned movies used to celebrate.
Evoked by "Sleepless in Seattle," through clips and numerous references in dialogue and soundtrack music, is Leo McCarey's sentimental 1957 classic "An Affair to Remember," a movie that instantly reduces every woman in the new film to tears. "An Affair to Remember" serves as an interesting yardstick for "Sleepless in Seattle." It a reminder of just how much smaller and more self-conscious romantic movies are today than they were when they were played by such icons as Cary Grant and Deborah Kerr, when love could be a matter of life and death, and when fate, not an interfering television-bred child, shaped the outcome.
It's clear that Ms. Ephron understands this. "Sleepless in Seattle" is so cannily concocted that it somehow manages to stand above the sitcom world in which it is set. You won't for a minute misidentify that world. It's there in the unquestioned material perks enjoyed both by Sam and Annie, in the picturesque houseboat on which Sam and Jonah live in Seattle, in the tone of the wisecracks delivered by Annie's pal Becky (Rosie O'Donnell) and even in the nature of Sam's grief.
Sam's beautiful first wife, Maggie (Carey Lowell), materializes from time to time in fantasy sequences, but the movie makes sure that his grief is not contagious. The audience knows, from Ms. Lowell's billing if nothing else, that Maggie is history, that Sam has a woman with co-star status waiting for him around the corner. The movie uses grief, but makes it safely meaningless. This is, after all, the world of sitcoms.
Mr. Hanks and Ms. Ryan are terrifically attractive, each somehow persuading the audience of the validity of all of the things that keep them apart and then miraculously bring them together. Annie's fiance, Walter (Bill Pullman), is a comic nerd for our time. He's not ridiculous in the manner of the other men once played by Ralph Bellamy, but he does have a large problem with allergies. Walter is allergic to almost everything.
No great effort is made to explain how Annie could have fallen in love with him in the first place. He's a plot function, as is Victoria (Barbara Garrick), the woman Sam courts halfheartedly in Seattle. She is pretty and has a manic giggle that would curdle hollandaise sauce. The film was made by the book.
Yet Ms. Ephron and her associates create a make-believe world so engaging that "Sleepless in Seattle" is finally impossible to resist. Both Mr. Hanks and Ms. Ryan bring substance to their roles. The film will probably call up memories of "When Harry Met Sally," although "Sleepless in Seattle," compared with that denatured version of a Woody Allen comedy, looks like a stunning original.
It's not easy keeping apart two lovers who the film tells you are made for each other at the beginning, but the digressions are often extremely funny. The manner by which they are united is outrageous and painfully cute, but finally satisfying. Ms. Ephron makes Machiavellian use of soundtrack music.
There's no doubt how you're supposed to respond when you hear "Over the Rainbow," "Star Dust," "Bye-Bye, Blackbird" and "Jingle Bells." Every now and then, however, there is a comic invention that lifts the movie up, up and away, as with the choices of "As Times Goes By," which more or less opens the film, and "Make Someone Happy," which ends the movie, both sung by the incomparable, gravel-voiced Jimmy Durante in a way that puts the lyrics in movingly bold relief.
In a way, "Sleepless in Seattle" is vamping for time from start to finish. It knows that it couldn't possibly show us (at least, for any length of time) a Sam and Annie together as fully in love as they are apart, before they've met. That would have to be an anticlimax. The movie, in which pacing is all, stops on a dime.
"Sleepless in Seattle" has been rated PG (Parental guidance suggested). It includes some vulgar language. Sleepless In Seattle Directed by Nora Ephron; screenplay by Ms. Ephron, David S. Ward and Jeff Arch, based on a story by Mr. Arch; director of photography, Sven Nykvist; edited by Robert Reitano; music by Marc Shaiman; production designer, Jeffrey Townsend; produced by Gary Foster; released by Tri-Star Pictures. Running time: 100 minutes. This film is rated PG. Sam Baldwin . . . Tom Hanks Jonah Baldwin . . . Ross Malinger Annie Reed . . . Meg Ryan Suzy . . . Rita Wilson Greg . . . Victor Garber Rob . . . Tom Riis Farrell Maggie Baldwin . . . Carey Lowell Walter . . . Bill Pullman Barbara Reed . . . Le Clanche du Rand Cliff Reed . . . Kevin O'Morrison Dennis Reed . . . David Hyde Pierce Betsy Reed . . . Valerie Wright Becky . . . Rosie O'Donnell Jay . . . Rob Reiner
初中生英语作文。双城记、鲁宾逊漂流记、巴黎圣母院的英语作文读后感。60字左右
表弟的暑假作业，初一。上网帮他找的大多是大学英语读后感。我表弟才初一，懂得的英语有限啊。所以，希望各位帮一下啦，初中生的英语作文读后感，要求是初中生看得懂啊…… 拜托了，上网找了好久也找不到。（真的好讨厌现在的老师啊，我表姐读高二也不会写）………… 谢谢了简单介绍下关于中译英书名、影视片名；
国产电影的片名中文化负载词的英译，需要译者考虑其概念在英文中是否存在，表示的文化内涵是否相同，影片自身采用的是哪种内涵意义。再考虑采用异化还是归化，直译、意译还是重新创造。此外译者还须考虑英文电影片名独特的特点。这样才能给影片点上一双完美的“眼睛”。
概念意义相同，文化意义相似中英文的基本词汇所指代的概念意义相同，有些蕴含的文化意义也基本相同。
《红玫瑰与白玫瑰》，讲述一个男人和两个女人的爱情纠葛。中英文化中，红玫瑰的花语为热烈的爱情，白玫瑰则是纯洁天真，所以电影片名就直译为 Red Rose White Rose 。通过片名，观众一眼就能了解片子的主题是爱情，情节跌宕起伏，这就激发了他们的兴趣。
《高山下的花环》也可直译成 Wreaths at the Foot of theMountain 。该影片描述的是，在对越自卫反击战时，我某部连队战士为国捐躯的事迹。花环是献给烈士们的，高山则是他们牺牲的地方。英文中的 wreath 就是献给死者表示尊敬祝福，给予荣誉的意思。中英片名具有相同的内涵，能实现等效翻译。
其次，关于英译中书名、影视片名的译法:
一本书的书名、一部电影或电视剧的片名往往含意丰富，有些还含有成语典故，需要仔细推敲、弄清原意，然后再决定译名。总的说来，书名、电影或电视剧的片名的翻译要求传情达意、简短易记、文字优美，并应和其内容吻合。其具体译法大致可分为以下4种：
（一）直译
The Canterbury Tales 《坎特伯雷故事集》；The Prince and the Pauper 《王子和贫儿》
The Adventures of Alice in Wonderland 《艾丽丝漫游记》
The Great Expectation 《远大前程》；A Tale of Two Cities 《双城记》
Aesop\'s Fables 《伊索寓言》；Sister Carrie 《嘉丽妹妹》
Vanity Fair《名利场》；A Farewell to Arms《永别了，武器》
The Merry Wives of Windsor《温莎的风流娘儿们》
The Age of Innocence《纯真年代》；Dances with Wolves《与狼共舞》
Jurassic Park《侏罗纪公园》
以上各个译名流传已久，均应遵从约定俗成的原则继续使用，不再重译。
（二）直译与意译
St. Mark《马克福音》；Robinson Crusoe 《鲁宾逊漂流记》
The Mayor of Casterbridge《卡斯特桥市长》；Dombey and Son《董贝父子》
A River Runs Through It《一条流过记忆的河》；Sleepless in Seattle《西雅图夜未眠》
Patton《巴顿将军》；The Net《网络情缘》
Moonstruck《月色撩人》；Sand and Blood《碧血黄沙》
（三）意译
Uncle Tom\'s Cabin《黑奴吁天录》（试比较：《汤姆叔的小屋》）
David Copperfield《块肉余生述》
Silas Marner 《织工马南传》（试比较：《塞那斯·马南》）
The Bridges of Madison County《廊桥遗梦》（试比较：《梅德逊郡桥》）
First Knight《剑侠风流》；Sabrina《情归巴黎》
Oliver Twist 《雾都孤儿》；Pygmalion 《皮格马利翁》
Red Star Over China 《西行漫记》 ； Gone with the Wind 《乱世佳人》
Pinocchio 《木偶奇遇记》；As You Like It《皆大欢喜》
The Pilgrim\'s Progress《天路历程》；For Whom the Bell Tolls《战地钟声》
（四）音译
Jane Eye 《简.爱》；Robin Hood 《罗宾汉》
Martin Eden 《马丁·伊登》
国产电影的片名中文化负载词的英译，需要译者考虑其概念在英文中是否存在，表示的文化内涵是否相同，影片自身采用的是哪种内涵意义。再考虑采用异化还是归化，直译、意译还是重新创造。此外译者还须考虑英文电影片名独特的特点。这样才能给影片点上一双完美的“眼睛”。
概念意义相同，文化意义相似中英文的基本词汇所指代的概念意义相同，有些蕴含的文化意义也基本相同。
《红玫瑰与白玫瑰》，讲述一个男人和两个女人的爱情纠葛。中英文化中，红玫瑰的花语为热烈的爱情，白玫瑰则是纯洁天真，所以电影片名就直译为 Red Rose White Rose 。通过片名，观众一眼就能了解片子的主题是爱情，情节跌宕起伏，这就激发了他们的兴趣。
《高山下的花环》也可直译成 Wreaths at the Foot of theMountain 。该影片描述的是，在对越自卫反击战时，我某部连队战士为国捐躯的事迹。花环是献给烈士们的，高山则是他们牺牲的地方。英文中的 wreath 就是献给死者表示尊敬祝福，给予荣誉的意思。中英片名具有相同的内涵，能实现等效翻译。
其次，关于英译中书名、影视片名的译法:
一本书的书名、一部电影或电视剧的片名往往含意丰富，有些还含有成语典故，需要仔细推敲、弄清原意，然后再决定译名。总的说来，书名、电影或电视剧的片名的翻译要求传情达意、简短易记、文字优美，并应和其内容吻合。其具体译法大致可分为以下4种：
（一）直译
The Canterbury Tales 《坎特伯雷故事集》；The Prince and the Pauper 《王子和贫儿》
The Adventures of Alice in Wonderland 《艾丽丝漫游记》
The Great Expectation 《远大前程》；A Tale of Two Cities 《双城记》
Aesop\'s Fables 《伊索寓言》；Sister Carrie 《嘉丽妹妹》
Vanity Fair《名利场》；A Farewell to Arms《永别了，武器》
The Merry Wives of Windsor《温莎的风流娘儿们》
The Age of Innocence《纯真年代》；Dances with Wolves《与狼共舞》
Jurassic Park《侏罗纪公园》
以上各个译名流传已久，均应遵从约定俗成的原则继续使用，不再重译。
（二）直译与意译
St. Mark《马克福音》；Robinson Crusoe 《鲁宾逊漂流记》
The Mayor of Casterbridge《卡斯特桥市长》；Dombey and Son《董贝父子》
A River Runs Through It《一条流过记忆的河》；Sleepless in Seattle《西雅图夜未眠》
Patton《巴顿将军》；The Net《网络情缘》
Moonstruck《月色撩人》；Sand and Blood《碧血黄沙》
（三）意译
Uncle Tom\'s Cabin《黑奴吁天录》（试比较：《汤姆叔的小屋》）
David Copperfield《块肉余生述》
Silas Marner 《织工马南传》（试比较：《塞那斯·马南》）
The Bridges of Madison County《廊桥遗梦》（试比较：《梅德逊郡桥》）
First Knight《剑侠风流》；Sabrina《情归巴黎》
Oliver Twist 《雾都孤儿》；Pygmalion 《皮格马利翁》
Red Star Over China 《西行漫记》 ； Gone with the Wind 《乱世佳人》
Pinocchio 《木偶奇遇记》；As You Like It《皆大欢喜》
The Pilgrim\'s Progress《天路历程》；For Whom the Bell Tolls《战地钟声》
（四）音译
Jane Eye 《简.爱》；Robin Hood 《罗宾汉》
Martin Eden 《马丁·伊登》
本文标题: 西雅图夜未眠的读后感英语(求 西雅图不眠夜 的一篇英文影评)
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