朗读者有哪些经典语录
是不是人人都如此
我年轻时总感到自己一会儿信心十足，一会儿又自信丧尽。
我想像自己完全无能，毫无魅力，没有价值。
同时我又觉得自己是天生我才，并且可以计日功成。
在我充满自信时，我连最大的困难也能克服，但哪怕一次最微不足道的失误，也叫我确信自己仍旧一无是处。
当我们敞开心扉时， 我们合二为一。
当我们沉浸时， 你中有我，我中有你。
当我们消失时， 你在我心里，我在你心里。
这之后， 我是我， 你是你。
回忆被留在了身后，就像一列火车继续向前行驶而把一座城市留在其后一样。
它依然存在，在什么地方潜伏着，我可以随时驶向它，得到它。
但是，我不必非这样做不可。
我们的生活层层叠叠，下一层紧挨着上一层，以至于我们老是在新鲜的遭际中碰触到过去的旧痕，而过去既非完美无缺也不功成身退，而是活生生地存在于眼前的现实中。
《朗读者》5句正能量台词谁知道，谢谢
The Reader is an exemplary piece of filmmaking, superbly acted by Kate Winslet, David Kross and Ralph Fiennes, beautifully lit by two of Britain's finest cinematographers (Roger Deakins and Chris Menges) and sensitively directed by Stephen Daldry from a screenplay by David Hare. In certain ways they sharpen Bernard Schlink's bestselling German novel of 1995 which deals with a subject - Nazi concentration camps and the Holocaust - that has hung over my generation since the outbreak of war in 1939, days after my sixth birthday. Since then, there has been an unending stream of Holocaust movies (nearly 300 are dealt with in the third edition of Indelible Shadows: Film and the Holocaust, Annette Insdorf's standard work on the subject), ranging in character and quality from scrupulous documentaries like Claude Lanzmann's Shoah and Alain Resnais's Night and Fog to, for me personally, the two most offensive, Liliana Cavani's near-pornographic The Night Porter and Roberto Benigni's sickly Oscar-winning Life is Beautiful.Ralph Fiennes made an unforgettable impression as Amon Goeth, the demonic commandant of the Plaszow forced labour camp in Schindler's List, the most widely shown movie on the Holocaust. So a provocative statement of some sort is being made by casting him as Michael Berg, the innocent narrator of The Reader. Born in Neustadt, Germany in 1944, the gifted son of a liberal intellectual, Berg is a successful lawyer who reviews his troubled life from the perspective of 1995 Berlin, and it's immediately clear that his experiences have left him secretive, inward-looking, emotionally stunted in a way that recalls the form and moral tenor of the Losey-Pinter film of The Go-Between.The movie is in three sections, with a couple of codas. In the first chapter, set in 1958, the 15-year-old Michael (David Kross) meets the voluptuous Hanna Schmitz (Kate Winslet), a kindly tram conductress more than twice his age. She provides his sexual initiation and sentimental education in the manner of such celebrated Continental novels as Raymond Radiguet's Le Diable au corps. In return she asks him to read to her before and after sex, and he regales her with The Odyssey, Huckleberry Finn, War and Peace and (a book she thinks disgusting) Lady Chatterley's Lover. The eroticism of reading brings to mind Michel Deville's La Lectrice, and the lovers' activities at their trysts complement each other. If you left the film after 45 minutes at the point when Hanna mysteriously disappears from Michael's life, and were unacquainted with the novel, you'd have thought it a wistful rite of passage, rather like Summer of '42 or The Graduate. But there are carefully planted clues to the tale's subsequent surprises. First, there is Hanna's reluctance to look at any text, be it a book, a travel brochure or a menu, or to write anything. What is she avoiding? The second is the emphasis placed on her uniform as a public transport employee. This gives her an official, military look.The second chapter unfolds in 1966 when Michael is a law student at Heidelberg, still yearning for Hanna. A sympathetic teacher, Professor Rohl (played by Bruno Ganz, who brings to this impeccable liberal figure a whiff of his Hitler in Downfall) launches a seminar for bright pupils to scrutinise the issues of guilt and crimes against humanity and takes them to a trial in a nearby town. There, Michael discovers to his horror that Hanna and other Auschwitz guards are in the dock, accused of appalling conduct at the camp and a callous atrocity while escorting a death march of Jewish prisoners away from the advancing Russians. Ironically, it is a book by a Jewish survivor that has occasioned the trial.Hanna does little to clear her name and it becomes evident to us and to Michael that this is in some way connected - I will say no more - with literacy. She is, apparently out of pride and shame, willing to accept greater blame than her co-defendants, a frumpy collection of middle-aged women, quite unlike the comely Hanna. Moreover, for a congeries of reasons, Michael doesn't come to her assistance. He feels betrayed, morally tainted, ethically disoriented and unforgiving. The third chapter covers Hanna's lengthy jail sentence, during which Michael communicates with her fervently but only via cassettes of great literary works. Thereafter comes a pair of codas, one concerning the divorced Michael's reconciliation with his estranged daughter, the other a visit he makes to New York to see an Auschwitz survivor, one of the witnesses at Hanna's trial She's played with an icy moral superiority by Lena Olin and most of her excellent dialogue is provided by Hare. What do you think those places were - universities? she asks the anguished Michael. What are you looking for? Forgiveness for her or to feel better about yourself? If you are looking for catharsis, go to the theatre or literature. Don't go to the camps. This double-edged statement brings into question much of what has gone before. The reflections on guilt, responsibility and the relationship between generations are betrayed by the contrived fiction into which they've been inserted by Schlink, a lawyer born in 1944 who writes detective stories. Scene by scene, we're gripped, but the metaphor is elusive, the narrative unconvincing and the overall effect vague and unpersuasive. The key clicks smoothly in the lock but no doors of perception open up. I'm also a little troubled by the movie being made in English. And, disconcertingly, the books Michael reads from are English versions. Won't this be odd when, as almost certainly it will be, the movie is dubbed into German?
董卿朗读者开场词有哪些遇见台词是什么
我觉的那个男的没有给汉娜回信,还有后来对汉娜很冷淡并不是他怕人家知道他们的关系,也不是因为汉娜在集中营中所做的事.而是他在生她的气,生他不告而别,生她从来没有在乎过他,生他从没有把他计划在她生活中的气.而且他太久没有爱人了,以经忘了如何对人热情.其实汉娜对这个男孩的伤害是很大的.在这个男孩刚刚情窦初开,刚步入青春期时,汉娜做为一个成熟性感的女性出现在他的生活中,并且接受了他.汉娜给他的是性,但是对于男孩来说他得到的不只是性,还有宠爱,责任,自信.当时的男孩是完完全全从心里和身体上来爱着汉娜的.可以说那个男孩付出的很彻底.所以汉娜的不告而别无疑给了他重重的一击.因为他当时并不知道汉娜是为了逃避自己是文盲的事情而离开的.所以在他的心里,他肯定是觉的汉娜更本不在乎,更本没把他放在心里.更本只是把他当一个可以随便丢弃的孩子.他付出了这么多的感情,最后换来的是不告而别,于是他受伤了,害怕在去爱了,失去了爱人的信念.所以在之后他再也无法放开心怀的去爱了.(电影和小说里有点不同.小说里是说他后来有时觉得情愿和同学在一起,而不是去汉娜那里,汉娜在最后离开前从远处看了下他,但是他没有过去认她.所以汉娜离开后他除了觉的被人抛弃的感觉外,还有一点自责,因为他隐隐的觉的是他没去认汉娜,汉娜才离开的.)我比较喜欢电影中的表现,那个男孩还是对汉娜全心全意的.不过如果汉娜不离开的话,在发展下去,他们因该也是不会走在一起的.因为毕竟年记差的太多了.时间长了,男孩肯定是要厌倦的.所以我觉的她的离开,主要方面是怕暴露自己是文盲,次要放面是害怕到时男孩提出来分手,所以还不如在自己没受伤害前先离开吧.她肯定没想到她这样一离开会对男孩伤害这么大,让男孩失去了爱人的能力.8年后在法庭上再遇见她时,他听到她的事情,知道她叫年轻的女孩为他郎读.这个信息对他来说是非常震撼的.影片中这个男孩听到这句话时都颤抖了.虽然这次在庭审中他知道了汉娜离开是不想升职,也知道了汉娜是文盲.但是他还是觉的汉娜可能从没有爱过他,这次他觉的汉娜和他好只是为了叫他给他读书.这在书中男主角有一句心里独白,电影里没有.他想:与汉娜谈一谈为什么我做不到呢
她离我而去，她欺骗了我，她不是那个我了解的汉娜，或令我为之想入非非的汉娜，而我对她来说又是何许人呢
一个被她利用的小朗读者
一个陪她睡觉，使她获得床第之欢的小家伙
如果无法离开我，但又想摆脱我时，她也会把我送进毒气室吗?从这句话可以看的出那个男孩对汉娜是生气的,是怀疑的.他不想面对她,是不想从她的嘴里听到她对他没有感情,只是利用他.听完这次庭审,男孩很伤心也很生气,他气自己为什么还对她念念不忘.所以他回去后和他的女同学发生了关系,但是他在那个女同学身上没有办法找到汉娜给过他的感觉.电影中他对那个女同学重重的一吻,是在做最后的努力.他希望可以忘掉汉娜.但是事实是他忘不掉.所以他最后还是气馁的离开了哪个女同学的房间,选择独处.男孩最终没有说出密秘,是因为他知道汉娜是倔强的,她不愿意的事是说不动她的.既然汉娜选择了不说.那他就尊重她,成全她.这一切结束后男孩结婚生子,想过正常人的生活.不过他身上有这么大的伤口,注定是没有办法和人交心的了,没有办法给任何人带去爱,因为他不想在受伤害了,不想在白白付出,所以他想过正常生活的一切尝试都失败了.离婚后的他,回到过去住的地方,看到了那些书,回亿起了过去,心里有太多他自己也搞不清的感觉,是爱,是恨,是自责,是愤怒.这些他都没法和人说.所以他开始朗读,说他是为了汉娜朗读,不如说是他在发泄那些无法对人解释的感情.既然不能忘记她,那就成为他的朗读者.她学会了阅读,他很高兴,但是他不想和他交流,不想听他们过去的事情.因为他内心深处还是在生她的气的,还是害怕听到她说她当时只是在利用她.所以他任性自私的拒绝她.最后他去看她,仍然很冷淡,其实这个不能怪他,他从汉娜离开后就没有在真正爱上过别人,他的爱停留在了汉娜离开的时侯,他全心全意爱的是36岁的汉娜,而现在的汉娜是他生气的,有疑问的.所以我觉的他的冷淡是正常的.因为他不想和他谈他们过去的事情,所以他只能问他以前做过的事,问他学会了什么.气氛就变的很尴尬了.我觉的他问她那些话只是没话找话说.其实他心里是不怪汉娜在集中营中做过的事的.因为当年在庭审时,他的一个同学表现出对汉娜她们这些被告的愤怒时,他和那个同学说叫他要去理解她,而且在汉娜被判无期时,他流下的眼泪都说明其实他并不怪她在集中营犯下的事.但是就因为他问的话,汉娜自杀了.他的态度伤害了汉娜,但也说明汉娜是很在乎他的.汉娜的死,让他明白了.汉娜是爱他的,在乎他的,他们之间是有过爱情的.要不也不会在牢里坚持了这么久,确因为他的几句话就放弃了活下去的勇气.(在书里有一段,电影里也没有.就是当汉娜去世后,他去汉娜的房间,有一段描述<看到有一张从报纸上剪下来的照片，上面有一位老先生和一位穿着深色西装的年轻人在握手。
我认出了那位给老先生鞠躬的年轻人就是我，那时我刚刚中学毕业，那是我在毕业典礼上接受校长授予的一个奖品，那是汉娜离开那座城市很久之后的事情了。
她一个目不识丁的人当时就预订了那份登有那张照片的地方报纸了吗
无论如何为了进一步获悉并获得那张照片，她一定费了不少周折。
在法庭审理期间，她就有那张照片了吗
她把它带在身边了吗
我的喉咙又哽咽了.>这一段就是在告诉我们,汉娜是爱他的,从来没有忘记过那个男孩.让我们知道,这个故事确实是一个爱情故事.只是他知道的太晚了,就因为他的任性,胆怯,一直在生汉娜的气,对汉娜如此的冷淡.使汉娜最终走上绝路.所以他深深的自责,后悔.最后他在那个幸存者面前坦白了他和汉娜的关系,并帮汉娜把钱捐了出去,这些举动都是他在忏悔,在赎罪.最后他把这件事告诉他的女儿,是一种像人敞开心怀的表现,说明他终于恢复了爱人的信念,想要好好的补尝曾经亏欠女儿的爱.不能在做出让自己后悔的事.他对女儿说出这个故事,是一种象怔,是一个从新去爱的开端.这个故事的结局对大家来说肯定是带着遗憾的.但是就是这种遗憾才成就了感动,我觉的要比那种死活要在一起的煽情片更为让人动容.我很喜欢少年男孩在电影中表现出来的那种温柔的微笑,令人心疼的哭泣.朗读者的电影和小说给人的感觉还是有一点点不同的,我更喜欢电影.当然不同的人看,就会有不同的理解.我说出的是我对这个片子的理解.是这个片子给我的感受.总之我被这部电影深深的感动了.
