第一篇：影評(píng)《午夜巴黎》

評(píng)《夜巴黎》

《夜巴黎》是由知名好萊塢導(dǎo)演伍迪·艾倫拍攝的影片，講的是一家美國(guó)人因?yàn)楣珓?wù)和生意的原因去巴黎旅行,其中有一對(duì)已經(jīng)訂婚的青年情侶。在巴黎的清晨和白天,情侶的愛(ài)意愈發(fā)地濃厚,他們恨不得馬上就舉行婚禮。浪漫之都巴黎的“催情”作用不可小覷。不同時(shí)間的巴黎,有著不同的“個(gè)性”:巴黎早上很漂亮,下午充滿魅力,夜晚讓人心醉;而午夜之后的巴黎則具有魔力,它既浪漫又神秘;既讓人神往又叫人心情起伏。年輕的男子似乎受到了某種情緒的“蠱惑”屢屢于午夜做出一些“出格”的舉動(dòng)。在經(jīng)歷了種種與過(guò)去的生活差異巨大的新鮮體驗(yàn)之后,他開(kāi)始思考“究竟什么才是更好的生活”。在愛(ài)上了巴黎以及巴黎的生活之后,他不禁開(kāi)始幻想和憧憬起自己的未來(lái),只是他和未婚妻的愛(ài)情,還能回到從前么? 通過(guò)主人公的經(jīng)歷，讓我們?nèi)ニ伎甲约旱娜松?，我們的人生又是怎么樣的。巴黎的美好，讓我們體會(huì)生活的多彩，但是巴黎的夢(mèng)幻，也讓我們思考生活的現(xiàn)實(shí)。

先介紹這部電影的導(dǎo)演——伍迪·艾倫，原名艾倫·斯圖爾特·科尼斯本，1935年12月1日生于紐約布魯克林一個(gè)貧窮的猶太家庭。伍迪在本地的米德伍德中學(xué)畢業(yè)，雖然也曾經(jīng)在紐約大學(xué)和紐約市立學(xué)院讀過(guò)幾天書(shū)，但均被開(kāi)除。15歲的時(shí)候，伍迪就開(kāi)始寫(xiě)俏皮話，開(kāi)始用伍迪·艾倫的名字給一些報(bào)紙的專(zhuān)欄作家投稿，據(jù)說(shuō)還為鮑勃·霍普當(dāng)過(guò)槍手，后來(lái)被這些專(zhuān)欄作者推薦擔(dān)任專(zhuān)為廣播電臺(tái)寫(xiě)廣告中的俏皮話。1969年，隨著伍迪電影經(jīng)驗(yàn)的日趨成熟，舞臺(tái)劇的成功也側(cè)面刺激了伍迪·艾倫的電影興趣，電影商人們也紛紛對(duì)這個(gè)

滿腦子精靈古怪想法的猶太小個(gè)子發(fā)出邀請(qǐng)，于是伍迪自導(dǎo)自演了一部《拿了錢(qián)就跑》，正式開(kāi)始了電影之路。從很早以來(lái)，伍迪的作品就已經(jīng)基本成型了，大驚大喜沒(méi)有，小幽小默不斷，他的作品早已培養(yǎng)出一批獨(dú)特的觀眾群，他和這些老觀眾交流，就像是和鄰里鄰居樓上樓下的老朋友們聊聊天、打打牌、逗逗嘴，在日趨平靜的生活中找點(diǎn)樂(lè)子。說(shuō)平靜，生活還挺平靜，可人人都覺(jué)得自己活著夠累：沒(méi)老婆的要找老婆，有了老婆又不安生；沒(méi)有孩子想要孩子，要了孩子也不踏實(shí)；沒(méi)有名的想出名，還沒(méi)出名就覺(jué)得累；沒(méi)有錢(qián)想要錢(qián)，有了錢(qián)又不習(xí)慣；看著電影里面什么都好，可自己遇到的都是倒霉事，人生本來(lái)就是一出時(shí)時(shí)幕起、時(shí)時(shí)幕落、雜亂喧鬧、無(wú)奈又無(wú)聊的喜劇大雜燴。這種獨(dú)特的電影風(fēng)格也導(dǎo)致他的電影適合的人群不是大眾，是知識(shí)分子。說(shuō)起這位鼎鼎大名的導(dǎo)演，影迷們大多只是用“天才”、“牛”，甚至“大師”來(lái)表達(dá)他們的尊敬，然后多半就緘口不言。對(duì)于一位美國(guó)猶太知識(shí)分子，我們顯然還很難徹底了解他的思想脈絡(luò)和文化背景，從而他的作品顯露出的特質(zhì)和優(yōu)異之處，我們很多時(shí)候也只是感覺(jué)到，而恐怕也不能象艾倫在美國(guó)猶太知識(shí)分子圈內(nèi)的那些忠實(shí)觀眾一樣能夠會(huì)心一笑。

作為“繼卓別林后最杰出的喜劇天才”，伍迪·艾倫以其獨(dú)有的喜劇才能在影壇上縱橫數(shù)十年而長(zhǎng)盛不衰，恐懼于不可避免的死亡、充斥著背叛的愛(ài)情徒勞無(wú)用、魔幻現(xiàn)實(shí)主義化解生活困境則構(gòu)成了伍迪·艾倫喜劇電影中 “三位一體” 的悲劇意識(shí)的表現(xiàn)形式。今天看到的電影《夜巴黎》就充分體現(xiàn)了伍迪·艾倫喜劇電影中“三位一體”的悲劇意識(shí)的表現(xiàn)形式，但是也不乏伍迪· 艾倫不斷的小幽默，時(shí)時(shí)幕起、時(shí)時(shí)幕落、雜亂喧鬧、無(wú)奈又無(wú)聊，很具有代表性。

伍迪·艾倫拍攝的電影，從倫敦到巴塞羅那再到巴黎，這幾年伍迪艾倫一直轉(zhuǎn)戰(zhàn)于歐洲幾大城市，此次在充滿浪漫氣息的巴黎完成與歷史上的文化名人的偉大穿越之旅，依舊有其標(biāo)志性的大量對(duì)白，不過(guò)勝在輕松有趣。每個(gè)人都有自己的“黃金時(shí)代”，但是上一個(gè)時(shí)代過(guò)去了，新的時(shí)代來(lái)了，我們還能回到那一個(gè)“黃金時(shí)代”么？答案是否定的，伍迪·艾倫用輕喜劇告訴我們，活在當(dāng)下是最明智的。

艾倫用“穿越劇”的老套形式把現(xiàn)在的巴黎和“黃金時(shí)代”的巴黎拼接在一起。也許，在艾倫的感受中，巴黎的魅力之處正在于她被自己悠久、優(yōu)雅的歷史所層層包圍，她同時(shí)是現(xiàn)在的和歷史的。巴黎的午夜正像一道旋轉(zhuǎn)門(mén)，能讓有心人輕易到達(dá)歷史臺(tái)歷上的任何一個(gè)時(shí)間和地址。艾倫顯然不夠浪漫，不會(huì)天真地、簡(jiǎn)單地肯定自己的“黃金時(shí)代”的美好和獨(dú)一，而是把它相對(duì)化、虛化。艾倫幾乎是在用一種通俗而幽默的語(yǔ)調(diào)在說(shuō)：每個(gè)現(xiàn)在都有自己的黃金時(shí)代，也許每個(gè)人都是面向過(guò)去、后退著走到現(xiàn)在，并走進(jìn)未來(lái)的。艾倫看到了文化鄉(xiāng)愁（幻象）既虛幻又真實(shí)的本性。真實(shí)之處在于，幻象總是暗暗地修正著現(xiàn)實(shí)，就像吉爾從20年代“回到現(xiàn)實(shí)”后，虛幻的經(jīng)歷最終讓他避開(kāi)了一段庸俗的婚姻，偏離了原來(lái)的生活軌道，留在了雨中的巴黎。就《午夜巴黎》而言，也許我們可以說(shuō)，在巴黎這個(gè)酒杯中，伍迪·艾倫嘗到的不是懷舊的文化鄉(xiāng)愁，而是“迷惘”。迷惘，正是那種籠統(tǒng)地被他稱(chēng)為“20年代”（或者，按照菲茲杰拉德的說(shuō)法，“爵

士樂(lè)時(shí)代”）的滋味的本質(zhì)。斯坦因說(shuō)過(guò)，你們這些在大戰(zhàn)中服過(guò)役的年輕人都是“迷惘的一代”，“你們對(duì)什么都不尊重。你們總是喝得酩酊大醉??”后來(lái)，經(jīng)過(guò)海明威的傳播，“迷惘的一代”成為一代作家的歷史標(biāo)簽。20年代處在一戰(zhàn)之后和大蕭條之前，那是一個(gè)虛無(wú)感的刺痛和創(chuàng)造力的噴薄并存的“超現(xiàn)實(shí)”年代，其精神核心正是確定性的消失。

“巴黎印象”原本是用濫了的標(biāo)簽，艾倫只用了開(kāi)頭一組“明信片”鏡頭，就勾勒了出來(lái)。背景音樂(lè)的貼切，甚至超過(guò)了法國(guó)電影。至于在今天的巴黎，“文化氣質(zhì)”還剩幾何，伍迪·艾倫不置可否?！皩?dǎo)游”卡拉·布呂尼的拘謹(jǐn)，她那句“愛(ài)兩個(gè)人”臺(tái)詞的稚嫩，絲毫解不了小布爾喬亞的惑?？扑雇袪柡透璧蟻喌谋硌輰?shí)在是太過(guò)搶眼，海明威的“霸氣外露”正好襯托出了威爾遜的唯唯諾諾。他更需要阿德里亞娜這樣的女人，柔情、聰慧、性感，能同莫迪利亞尼、畢加索一起為之傾倒，吉爾恨不得多穿越幾次，從“爵士年代”到“美好時(shí)代”，甚至是更為奢華的路易十四時(shí)期，體驗(yàn)生命的無(wú)限可能性。毫無(wú)疑問(wèn)，《午夜巴黎》是一部專(zhuān)屬于知識(shí)分子的電影，它巧妙地剖開(kāi)了他們的靈魂，再裝入到幻想的軀殼里，扔到巴黎小巷去游蕩。

影片中，主人公吉爾與教授保羅是一組對(duì)位關(guān)系，可以說(shuō)保羅是另一個(gè)吉爾，是以前的那個(gè)吉爾，那個(gè)能讓伊內(nèi)斯愛(ài)慕的吉爾。以前的吉爾是一位好萊塢劇作家，一個(gè)社會(huì)精英、成功人士，能寫(xiě)賣(mài)座的電影劇本，能得到大眾的認(rèn)可。現(xiàn)在的吉爾則是一位作家，他渴望真正的、充滿激情的創(chuàng)作，想寫(xiě)一部屬于自己的、表達(dá)自己生命體驗(yàn)的作品，而不是總寫(xiě)那些程式化的、討好觀眾口味的快餐之作。所以他想放棄好萊塢的一切，在巴黎重新開(kāi)始。但是伊內(nèi)斯不能接受吉爾從一名成功人士“墮落”為一個(gè)無(wú)名作家，與之發(fā)生眾多爭(zhēng)執(zhí)。

保羅則是一位知名教授，在他們一起游覽巴黎名勝古跡的時(shí)候，他滔滔不絕地賣(mài)弄自己的“博學(xué)多才”。保羅表面熱愛(ài)藝術(shù)，實(shí)則對(duì)藝術(shù)毫無(wú)知覺(jué)，他缺乏對(duì)藝術(shù)的激情，因而那些藝術(shù)作品無(wú)法撞擊到他的靈魂，他不能從內(nèi)心理解和感悟那些作品，而只滿足于描述書(shū)本上習(xí)得的專(zhuān)業(yè)知識(shí)，所以，他和一位與藝術(shù)有著巨大鴻溝的“專(zhuān)家”。

保羅不僅是藝術(shù)品專(zhuān)家，還是紅酒專(zhuān)家、舞蹈專(zhuān)家，而影片對(duì)保羅的這種“專(zhuān)家”身份進(jìn)行了三次幽默的嘲諷，第一次是在“沉思者”面前，保羅賣(mài)弄知識(shí)時(shí)錯(cuò)把卡米拉當(dāng)做羅丹的妻子，當(dāng)他被導(dǎo)游指出錯(cuò)誤時(shí)，他矢口否認(rèn)，堅(jiān)定地保持著自己不可侵犯的權(quán)威性。第二次是伊內(nèi)斯對(duì)保羅說(shuō)吉爾在進(jìn)行文學(xué)創(chuàng)作，保羅提出他可以幫吉爾寫(xiě)評(píng)論來(lái)吹捧吉爾的作品，在“事業(yè)”上助吉爾一臂之力，他完全背叛了文學(xué)批評(píng)的原則。第三次則是參觀畢加索的畫(huà)作時(shí)，他僅按書(shū)本知識(shí)講述畢加索的畫(huà)作，而巧合的是，吉爾在前一晚穿越中正好見(jiàn)到畢加索創(chuàng)作完這幅畫(huà)之后，其同代人批評(píng)該畫(huà)充滿庸俗的性欲而沒(méi)有表現(xiàn)出畢加索情人的真正迷人之處，是一次失敗的嘗試之作。當(dāng)吉爾說(shuō)出了對(duì)畢加索此畫(huà)的評(píng)價(jià)后，其他人則因吉爾對(duì)藝術(shù)大師的“大不敬”而瞠目結(jié)舌。

吉爾與保羅的最大區(qū)別，就是激情，那種對(duì)藝術(shù)的激情，那種藝術(shù)家身上的酒神精神。巴爾扎克說(shuō)：偉大的激情與杰作一樣寥寥無(wú)幾。

在藝術(shù)領(lǐng)域中，與藝術(shù)家相伴的總是激情。而影片也借海明威之口闡釋了激情的意義：“他們的愛(ài)具有足夠的激情，才能將死神從頭腦中驅(qū)逐?！倍@樣的人才是海明威心目中能戰(zhàn)勝虛無(wú)與死亡的英雄。

在吉爾的世界里，“沒(méi)有巴庫(kù)斯（酒神的名字）的成份，生活便會(huì)沒(méi)有趣味（羅素語(yǔ)）”，但在伊內(nèi)斯的世界里，“有了巴庫(kù)斯的成份，生活便是危險(xiǎn)的（羅素語(yǔ)）”。伊內(nèi)斯對(duì)吉爾這種脫離生活“正道”的“危險(xiǎn)性”心知肚明，因此她對(duì)吉爾越發(fā)不能容忍，而漸漸青睞保羅。因此，在現(xiàn)實(shí)領(lǐng)域里，吉爾輸給了保羅，但在藝術(shù)領(lǐng)域里，保羅輸給了吉爾。

保羅是吉爾的“舊我”，人有了激情，就會(huì)有撕裂感，就期待脫離這個(gè)不完美的此岸去追尋那個(gè)完美的彼岸，就想把因循守舊、乏味空洞、刻板無(wú)聊的“舊我”撕裂出去，把他丟給外面的世界，騰出空間讓自己找尋內(nèi)心的真正欲求，找尋詩(shī)意的存在、夢(mèng)境的顯現(xiàn)。就這樣，吉爾在午夜窺見(jiàn)到了心中的彼岸，那個(gè)富有詩(shī)意的夢(mèng)幻彼岸。

在影片中，伍迪·艾倫更是探討了詩(shī)意棲居的問(wèn)題。我們總說(shuō)，現(xiàn)實(shí)生活泯滅了我們的詩(shī)意，但看完這部影片之后，我們不得不問(wèn)，究竟是現(xiàn)實(shí)生活泯滅了我們的詩(shī)意，還是我們泯滅了現(xiàn)實(shí)生活的詩(shī)意。

第二篇：午夜巴黎影評(píng)

午夜巴黎電影批評(píng)

——浪漫主義手法揭示的現(xiàn)實(shí)主義主題 午夜巴黎是伍迪艾倫向歐洲致敬的系列中的一部，也許是其中最浪漫的一部作品，因?yàn)檫@部作品是關(guān)于巴黎。巴黎，這兩個(gè)字看上去就無(wú)與倫比的浪漫和優(yōu)雅，我在想如果當(dāng)初翻譯成巴里或者芭麗，我看到這個(gè)名字還會(huì)不會(huì)覺(jué)得浪漫，巴，黎，兩個(gè)字，已經(jīng)成為了很多人心目中浪漫的印記。

電影講述美國(guó)好萊塢劇作家吉爾和他未婚妻一家來(lái)到巴黎，吉爾徜徉在巴黎的浪漫氣息和對(duì)巴黎二十年代的向往中，而未婚妻一家人，還有未婚妻的朋友——一個(gè)愛(ài)掉書(shū)袋的知識(shí)分子保羅，卻對(duì)此不以為意，他們不理解吉爾這種脫離現(xiàn)實(shí)的思想。吉爾偶然穿越回了他心目中的黃金時(shí)代，見(jiàn)到許多那個(gè)時(shí)代的藝術(shù)家，得到了他們對(duì)自己小說(shuō)的指導(dǎo)，并且與一名魅力非凡的女子相愛(ài)，他們有著對(duì)巴黎同樣的熱愛(ài)，喜歡游走在巴黎的每一寸土地上。但是與吉爾不同，生活在二十年代的阿德里安那認(rèn)為1890年左右的美好年代才是最好的年代。當(dāng)他們一起穿越回美好年代時(shí)，發(fā)現(xiàn)那里的人們認(rèn)為文藝復(fù)興才是最偉大的時(shí)代。最終，吉爾回到了現(xiàn)實(shí)，決心面對(duì)自己真正屬于的這個(gè)年代。

影片一開(kāi)始就出現(xiàn)了伴隨著音樂(lè)節(jié)奏不斷切換的幾十個(gè)空鏡頭，將巴黎的美景展示無(wú)余，那種視覺(jué)上的沖擊與攝影作品不同，原因在于電影鏡頭記錄下的一個(gè)個(gè)畫(huà)面是流動(dòng)的，航行中的船，行走的路人，滴落的雨和流動(dòng)的河水，讓我們感受到“流動(dòng)的盛宴”。劇情上這部電影用了在中國(guó)電視劇中被濫用的穿越橋段，將主人公帶回了他心馳神往的黃金時(shí)代。但這一手法在這部電影中絲毫不狗血，因?yàn)閺挠捌婚_(kāi)始，導(dǎo)演就告訴觀眾巴黎是一個(gè)神奇的地方，任何浪漫的事情都有可能發(fā)生。穿越用得好的話是一個(gè)很好的途徑將故事帶入另一個(gè)時(shí)空，這樣的經(jīng)歷放在有著黃金情節(jié)的主人公身上也是合情合理。而隨著劇情的推動(dòng)，當(dāng)吉爾看到舊時(shí)代的人還在緬懷更古老的時(shí)代而忽略當(dāng)下的美好時(shí)，他逐漸清醒過(guò)來(lái)，黃金時(shí)代之所以閃閃發(fā)光，是因?yàn)槿藗兛吹搅怂篮玫囊幻娑雎粤怂木窒扌?，那里是有赫赫有名的大師，但是那里沒(méi)有抗生素和麻藥，而我們所認(rèn)為的浮躁且缺乏想象力的當(dāng)下，也許是后人眼中的黃金時(shí)代，只是我們自己不肯充滿熱忱的投身其中而已。影片很好地利用了電影的優(yōu)勢(shì)，讓同一空間下的巴黎展現(xiàn)了不同的時(shí)代，吉爾能夠見(jiàn)到海明威畢加索等人，阿德里安那又可以穿越回馬克西姆酒吧，用古老的車(chē)子將故事帶入一層又一層驚喜。而它也不露痕跡的，用浪漫主義的手法，逐漸讓主人公和觀眾脫離浪漫主義的幻覺(jué)，直面現(xiàn)實(shí)，從而創(chuàng)造出更有意義的藝術(shù)作品。假若被虛無(wú)的浪漫主義蒙蔽了看清現(xiàn)實(shí)的雙眼，捆綁了擁抱現(xiàn)實(shí)的雙手，又如何能在現(xiàn)實(shí)中找到如同黃金時(shí)代一樣的美好感受呢？

如果要說(shuō)影片有什么不足之處，我認(rèn)為主要有兩點(diǎn)。保羅在故事中令人生厭的掉書(shū)袋行為，其實(shí)影片安排大量藝術(shù)大師出場(chǎng)與這個(gè)行為別無(wú)二致。如果不是字幕的介紹，普通觀眾大約只能認(rèn)識(shí)這些大師中的三分之一，而吉爾代表導(dǎo)演，對(duì)這些大師如數(shù)家珍，這實(shí)在是中產(chǎn)階級(jí)自我感覺(jué)良好的另一種體現(xiàn)，觀眾在一頭霧水的情況下有種被藝術(shù)圈隔離的感覺(jué)。另外，這雖然是一部美麗吸引人又引人思考的影片，但實(shí)在算不上一部向城市致敬的影片，因?yàn)橛捌且杂慰偷纳矸菘窗?/p>

黎，開(kāi)篇的幾十個(gè)空鏡頭仿佛明信片一般將巴黎的美景盡收眼底，主人公也向往漫步于塞納河左岸，但是關(guān)于這個(gè)城市的精神內(nèi)核，仿佛還隔了一層，畢竟如果只將巴黎視為浪漫而璀璨的宇宙焦點(diǎn)還是太表象了。我認(rèn)為影片大概是你觸及巴黎生活的預(yù)備階段，真正的巴黎也許在吉爾定居巴黎之后才會(huì)慢慢體會(huì)更深。

無(wú)論如何，這是一部引人思考又帶來(lái)感官上美感的影片。我將這部影片描述為用浪漫主義的手法講述一個(gè)放棄浪漫主義的故事。而細(xì)細(xì)思索下，浪漫主義是什么，村上春樹(shù)說(shuō)是向萬(wàn)事萬(wàn)物的存在狀態(tài)的挑戰(zhàn)，比如你不接受當(dāng)下而追求黃金時(shí)代。但是一個(gè)藝術(shù)家的角色絕非向絕望低頭，而是尋找對(duì)抗空虛存在的解藥，吉爾最終回到現(xiàn)實(shí)，向已知的并不完美的現(xiàn)實(shí)挑戰(zhàn)，其實(shí)難道不是另一種浪漫主義嗎？

第三篇：雙語(yǔ)影評(píng)(午夜巴黎)

這是導(dǎo)演艾倫寫(xiě)給巴黎的一封情書(shū)，它將老套的穿越橋段演繹得浪漫而不輕浮，引發(fā)了人們對(duì)于何為“美好時(shí)代”的良久思考。

對(duì)巴黎充滿好感的好萊塢編劇吉爾和未婚妻伊內(nèi)茲到巴黎度假。午夜鐘聲響起，微醉的男主角吉爾被拉上了一輛老式的古董汽車(chē)，與二十世紀(jì)二十年代的巴黎不期而遇。他以作家身份進(jìn)入了以斯坦因?yàn)楹诵牡囊畚乃嚾?，穿越到了他心目中的黃金年代。

影片以風(fēng)景開(kāi)場(chǎng)，埃菲爾鐵塔、塞納河、紅磨坊、香榭麗舍大街、凱旋門(mén)、盧浮宮等一系列場(chǎng)景一一鋪陳開(kāi)來(lái)，營(yíng)造出了眾人想象中的巴黎。而當(dāng)故事開(kāi)講，第一個(gè)人物場(chǎng)景也安排在了莫奈的睡蓮池邊。影片注重對(duì)巴黎的場(chǎng)景描寫(xiě)，油畫(huà)一樣的畫(huà)面，質(zhì)樸又不失情調(diào)，每一個(gè)鏡頭都風(fēng)情萬(wàn)種。

影片中的手法運(yùn)用很直接，對(duì)于那些美國(guó)游客的嘲諷顯而易見(jiàn)，他要么是關(guān)心利益且對(duì)人疑心重重的商人，或者是滿口“cheap is cheap”的勢(shì)利眼，要不就是忙于掉書(shū)袋的虛偽學(xué)者。他們沒(méi)有對(duì)藝術(shù)的激情，也就不能感受到午夜巴黎透露出的文藝氣息。他們的生活缺乏浪漫，也就沒(méi)有了心中的那個(gè)“黃金年代”。

艾倫的喜劇電影往往透露著悲劇情懷。就像在這部片子里體現(xiàn)的，庸俗的婚姻最終因?yàn)楸撑讯淮驍?，依靠魔幻現(xiàn)實(shí)主義才能擺脫生活的困境。從很早以來(lái)，艾倫的電影就是這樣，沒(méi)有大驚大喜，卻有小幽小默。他用平實(shí)的方式講述一個(gè)故事，用輕松幽默的對(duì)話推動(dòng)情節(jié)的發(fā)展，最終引發(fā)人們對(duì)于生活的思考。我覺(jué)得，電影的主題在懷舊。吉爾在追尋他心目中美好的20年代巴黎，20年代的人在追尋世紀(jì)之交的巴黎，而世紀(jì)之交的人們卻在追尋更加遙遠(yuǎn)的文藝復(fù)興。文藝界的人們似乎總是懷舊，而懷舊的又如何只是文藝界的人們？世人往往對(duì)現(xiàn)實(shí)不滿，便寄望于懷念過(guò)去。抱定現(xiàn)實(shí)，或是追隨“黃金年代”而去，男主與埃德瑞娜做出了不同的選擇?，F(xiàn)實(shí)的我們或許并沒(méi)有選擇的權(quán)利，但我們卻可以選擇面對(duì)生活的態(tài)度?；貧w理性或是沉迷過(guò)去，追求現(xiàn)實(shí)或是執(zhí)著夢(mèng)想，這是我們每個(gè)人應(yīng)該去思考的問(wèn)題。

巴黎的午夜像一道旋轉(zhuǎn)門(mén)，能讓有心人輕易到達(dá)歷史舞臺(tái)上任意一個(gè)時(shí)間和地址。每個(gè)人心里都有自己的“黃金年代”。總有那么一些時(shí)候，我們要試著在現(xiàn)實(shí)的生活里詩(shī)意地棲居。

This is a piece of love letter to Paris by Allen, who devises a novel time-travel plot, which is demonstrated in a quite romantic but not flighty way.This film has triggered audience’s further thoughts about what on earth is the Golden Age.The story takes place during the vacation, when the Hollywood scriptwriter Gill travels to the fascinating city Paris with his fiancée Inez.The moment clock struck midnight, tipsy Gill was pulled into a antique car, after which he begins his chance encounter with the Paris of the 1920s.To his amazement, this is a marvelous journey, during which he is set in a shiny circle with Stein at the core and travels back to the Golden Age, which is what he has been dreaming for.As the film opens, what comes into our sight is marvelous Eiffel Tower, Seine, Moulin Rouge, Champs Elysees, Triumphal Arch, Louvre and so on.The first scene of the story is set near Monet's water lilies pool.The film is characterized with its artistic portray of Paris scenery, which is plain but not dull at all, leaving a fascinating expression on its audience.The explicit demonstration of this film gives us a clear knowledge about its core value.The screenwriter’scriticisms on American visitors are rather sharp and direct, which attacks those venal and suspicious businessmen, donnish bookworms or snobbish ones in a quite straight way.Undoubtedly, those who lack passion in art will never sniff the unique flour of Paris in midnight, because the meager romance in their life is the contributing factor to their bloom Golden Age in their mind.As Allen’s previous comedies, this film conveys a hint of tragic color as well.Vulgar marriage dooms to end in betrayal, while magic realism is the only way to get rid of dilemmas.This is just Allen’s customary style, no surprising endings, but it is those jokes which attract you most.He is a

nice narrator who tells stories in a quite plain way, while humorous dialogues evoke people’s thoughts about their daily life.In my view, the main theme of the film is reminiscence.Gill pursues the Paris in the 1920s, while people in the 1920s long for an experience at the turn of the century and those born at the turn of century are eager for Renaissance, a much more instant time.It is said that people in art circles have a tendency of reminiscence.However, the bare fact is that all people who bear grudge to reality can’t help missing the past.Finally, Gill and Ed reyna make their own decision between clinging to the present world or following the trace of Golden Ages.Actually, we can hardly change the times we are born to, but we can choose our attitudes toward life.Keeping rational in the pursuit of our dreams or still being immersed in the past, being dedicated to the real world or obsessed with your fantasy are what we should think over.Midnight in Paris is more like a spinning door, which offers a chance for us to choose any time and any place we want back to old times.There must be one Golden Age deep in every single person’s heart, while in the meanwhile, we’d better try to dwell in real times in a poetical way.

第四篇：午夜巴黎影評(píng)

3210007981 李美珍 10Trade4 Comment on film “Midnight in Paris”

“Midnight in Paris” is shoot by the famous Hollywood director woody Allen, talking about Gil Pender accompanied with his fiancée, Inez, father-in-law and mother-in-law to Paris on vacation.He wants to stay in Paris to finish his first novel, but Inez and its parents firmly opposed.At a dinner, Inez met a former classmate Paul couples, they travel together.Paul show off everywhere, and chatter with guide, which made Gil Pender disgust.At midnight, he walked alone in the streets of Paris, but was attracted by a passing carriage.He as the carriage came to a party, a wrong met Fitzgerald, Ernest Hemingway, Picasso, Dali, stein, and he is smitten by Picasso's Adriana lover.He diligently through and the resultant all let him hopelessly in love with the city of Paris.Gil Pender and professor Paul in the film, the hero is a set of opposite relationship, we can say that Paul is another Gil Pender, who can let the love inside before.Gil Pender is a Hollywood screenwriter, a social elite, successful people, can write blockbuster movie script, which can gain mass appeal.Now, Gil Pender is a writer, he is eager to real, passionate, creative, wanted to write a belongs to own, express their life experience, rather than always writing those stylized, to please the audience taste of fast food.Hollywood so he wanted to give up everything and start again in Paris.But he can't accept Gil Pender from a successful “degenerate” for an anonymous writer, with the occurrence of numerous disputes.Paul is a well-known professor, in Paris, together they visit places of interest, he poured to show off his “Renaissance”.Paul surface love art, but it is unconscious in art, his lack of passion for the arts, and the work of art cannot hit to his soul, he can't who works from inner understanding and comprehension, and described the book only meet in the acquisition of professional knowledge, so, he and a “experts” with art has a huge gap.Paul is not only an art expert, or a wine expert, dance, and film for Paul the “experts” identity on three humorous satire, is for the first time in front of “meditation”, Paul show off knowledge regards Camilla as Rodin's wife, as he is the guide pointed out a mistake, he denied that maintained their inviolable authority firmly.The second time is in Iraq said to Paul gill in literary creation, Paul, he can write the comments for Gil Pender to flatter gill's work, helped Gil Pender on “career”, he completely betrayed the principles of literary criticism.The third is the visit of Picasso's paintings, his only according to the book knowledge about Picasso's paintings, and coincidentally, Gil Pender I saw in the previous night through after Picasso created this painting, his contemporaries criticized the painting full of vulgar sexual desire without showing Picasso's really fascinating, is a failed attempt.When spoke after evaluation of Picasso painting, others for Gil Pender to master of art “offensive”.Gil Pender and Paul, the biggest difference between, is the passion, the passion for the art, the artists of the Dionysian spirit.Balzac said: great passion with as few masterpieces.In the field of the arts, is always accompanied by artists.We nostalgia, not because we really wasted, not because of how the old well, maybe it's just we want to change the way of life, maybe just we feel lonely.

第五篇：《午夜巴黎》的英文影評(píng)

《午夜巴黎》的英文影評(píng)

There's something about the midnight hour, something special, mystical, and magical.In the case of this marvelous movie, its impact is fully realized, as we see our protagonist suddenly realize that he has the opportunity to face that which he truly admires, treasures, and dreams about.In the opening scenes, he expresses his desire to settle in the city of lights, and we know it's not going to be an easy thing to do.His girlfriend and he are quite different in their appreciation of what being in Paris means.She understands it's special, maybe from an aristocrat's point of view.He might be looking at it, as the dream place for an artist to find aspiration to fulfill his artistic goals.One night, he wanders into the streets of Paris and finds himself lost, only to find himself rescue by a party of night socialites who turn out to be quite famous in some literary circles.Soon, the screenwriter/aspiring writer has an opportunity to see himself living one of his dreams as well as slowly come to some surprising epiphanies as he discovers more and more who his new acquaintances might truly be, and most important what their dreams really are.The film is set in several time periods, and Paris glows intensely and seductively in everyone of those.From its overcast skies and reflective streets, showing lovely architectural details and its magnificent landmarks to the superb and lovely recreations of older time periods, one can't help being seduced, charmed, and inspired to find a way to show what a special place, and consequently what a truly magical film this might be.Performances are outstanding all around, with Cotillard once again stealing every second she is on the screen.Through her eyes and carefully delivered lines, we understand what attracts us to this special time and place.She is a gorgeous and very talented performer, one who might be truly aware of her standing, yet she doesn't dwell on it.She attracts many types, but her philosophy is unique, move on, enjoy, live the moment.In a way, she is like the city that has inspired Allen, and many others before him.Paris as a place might not be aware of its magnetism, its beauty, and its power.Cotillard's muse is the perfect human equivalent, a dazzling and potent woman, who moves from man to man, place to place, time to time, and who surprises us with her own wishes near the end of the story.Wilson inhabits the Allen persona, and he does a very good job, not creating a tired imitation, an annoying cliché that could have ruined the perfect balance of sight, sounds, and insightful dialog, keeping this masterpiece way ahead of the best Allen has offered before.For those of us who gasped during the fantasy sequences of “The Purple Rose of Cairo”, the marvelous recreations of the stage in “Bullets Over Broadway”, the dissection of relationships in many of his best films, get ready to see it all finally come together, as he picks from the best, and adds his personal touch, with many a funny and clever observation, uttered by Wilson with a honest and complete sense of wonder.Unlike many of his leading men, Wilson displays an innocence which allows him and us to see his adventures in a fresh light.“Midnight in Paris” is a beautiful display of what movie magic can truly create, a sense of wonder long gone from contemporary cinema;This is a movie that entertains, teaches, and wears each one of its elements, like Paris bewitches us with every light, every facade, and every heartbeat of its music.(ZZ from IMDB)