求太阳照常升起的经典语录
每天的太阳都照常升起,但是不是你每天都见的到太阳。
一代人来,一代去,太阳照常升起。
《太阳照常升起》中疯妈念诗时用的是什么方言
中疯妈念诗时用的是浙江温州话，是温州人，导演也就顺便用了这点，电影里也有说道她来自海边。
Sei nan yi can o nga ki昔人已乘黄鹤去Ci di kong wu o nga lao此地空余O nga yi ki bai fu fa黄鹤一去不复返Ba yong qie zei kong yao yao白云千载空悠
lol中谁的台词是“我是太阳的抉择”
曙光女神 全部台词 黎明就在眼前来我这里集合保持警惕我会保护你的无论刮风还是下雨 太阳照常升起守在前线我绝对不能倒下我 是太阳的抉择\\\/J 不要这样直勾勾的盯着我嘛\\\/指甲断了.. 赫 不是我的\\\/d 下次,记得留下一些凹痕 以作纪念
姜文作品太阳照常升起
跟你一样，我也喜欢《太阳照常升起》，是一部让人很动脑子思考的电影，当电影最后一切谜底都将揭开，让观众有一种解密的快感，喜欢的人觉得很有趣，不喜欢的人反而觉得很沉闷
电影 太阳照常升起 内涵是什么
姜文没有找到真正理解自己思维的演员，降一个层次，也没有选择到适合表现他的主旨的演员只胜姜文一个人自?自话。
演员，是这次先锋尝试的最大软肋。
但是，靠姜文一个人的枪，照样做了一次还算痛快淋漓的扫射，用浪漫的子弹扫射着悲凉的历史，扫射着人们不愿意细细剖析却又无法释怀的历史。
尽管他的浪漫语言有些地方过于形式主义，有些地方有些多余，但是至少，他把内容和主题完整地对应了起来，对那段历史，我们该对自己说的，确实就是这句话，“太阳照常升起。
”当我对中国电影的期待降到了一个足够低的界限时，我发现《太阳照常升起》让我有些些的激动。
说起来有些好笑，影片自开头起，一直到疯妈的段落近结束，我几乎是哭笑不得地看完，心想，又是导演的一次自慰，到了陈冲的部分我直觉得可以作喜剧了。
放映厅里暴笑连连，但是一个段落接一个段落，发现姜文竟然是选择的类似《撞车》和《通天塔》里的铺陈和衔接方式，而当久石让的只能用“杰出”来形容的配乐一直伴随着故事前进时，才恍然发现，让早已对中国大片麻木的我们暴笑的部分，所承担的是怎样扭曲的时代背景和这个背景下的变态人格。
影片后半部分，放映厅里出奇得寂静，只有那实在神合的背景音乐在敲打着观者的心，意识流一样的前半部分的台词逐渐的得到了对应和解释。
虽然说实话，这样的尝试显得稚嫩的很，形式和内容还是大大缺乏水到渠成的融合感觉，还是炫技大过成熟的思想和情感表达。
但已经可以表扬一下了。
比起之前的国产大片，这次的音乐，画面，细节，台词显得更具有整体性，就这一点，也足以证明姜文至少不是个张艺谋那样的脑空者，但当他想用完美震撼的方式来把他思考了N久的意识表达出来时，确实浪漫的语言让人惊艳，至少用了很多得当的表达方式诉说了他这一代人的浪漫主义情怀和对历史的思考角度，比如流氓事件的那个现场，比如喀秋莎和阿辽莎的借喻，比如疯妈死的场景的设计，比如在天尽头求婚的表现，比如在西部结婚的场面，比如火车的片段……甚至让人佩服他的想象力。
但是，还是多少有些急功的感觉，比如那双据说奇贵无比的鱼图案的鞋子，实在有些夸张；比如黄秋生手底下的几个女的接电话骂流氓的场面多少混乱和虚假了些，比如孔维的那段表现的又有些仓促和突兀……最头疼的是，演员的选择，演员的声调实扎?不起姜文这么努力的叙述。
只有陈冲，和角色设定是吻合的，房祖名也可以，但是声音实在是……奔着得奖，我觉得没门，国人都得费神读懂，更何况老外
中国导演始终不明白你拍给观众看，说给观众听，至少得有让人看的懂的方式。
在中国，要说导演比观众多有文化，那简直是笑话，所以，别在观众面前傻拽，而且懂不能靠你嘴解释，得靠电影本身。
导演最好话少一点，作品象样一点。
另外，电影赶紧分级吧，这种无整体顾及的删减实在是让人厌恶。
但是，不得不说，这部电影让我找到了久违的各种电影语言还算整体搭配的感觉，也找到了久违的感伤的清结。
挺欣赏姜文的，至少还可以揣摩他想说什么。
急求
~~~海明威 太阳照常升起 英文
The Sun Also RisesPlot summaryThe novel explores the lives and values of the so-called Lost Generation, chronicling the experiences of Jake Barnes and several acquaintances on their pilgrimage to Pamplona for the annual fiesta and bull fights. Barnes' genitals had been mutilated as the result of an injury incurred during World War I; he is subsequently unable to a sexual relationship with Brett Ashley, though anatomy still compels to be attracted to her. The story follows Jake and various companions across France and Spain. Initially, Jake seeks peace away from Brett by taking a fishing trip to Burguete, deep within the Spanish , with companion Bill Gorton, another veteran of the war. The fiesta in Pamplona is the setting for the eventual meeting of all the characters, who play out their various desires and anxieties, alongside a great deal of drinking.[edit]Main charactersJake Barnes: The narrator of the story, Barnes is an American veteran of World War I who suffered physical injuries that have made physiologically impotent, and unable to pursue a sexual relationship with Brett. Having lost direction of life as a result of his experiences during the war, Barnes attempts to content self through hard work, drinking, and bull fights.Lady Ashley, or Brett: An extremely attractive woman who is divorced from her husband after World War I, but not during the course of the novel, Brett is the object of lust for most of the male characters of the book. Portrayed as elusive and promiscuous, Brett, like Barnes, also lacks direction in life and finds emptiness in activities that she would have normally enjoyed during pre-war times. She is engaged to Michael.Robert Cohn: His status as an outsider as a result of being Jewish has caused Cohn to develop an inferiority complex. Despite attempts to be civil and courteous, Cohn is the object of scorn from other characters. The novel's plot turns on his attempt to recover a brief affair he had with Brett, leading him to tag along with the group of expatriates, much to their collective vexation.Michael : A Scottish veteran of the war, Michael is close friends with Jake and Bill, and engaged to Brett. Though he attempts to hide his for Cohn, his fiery temper usually manifests itself during periods of heavy drinking.Bill Gorton: An old friend of Barnes, Bill is also a veteran of the war and is less cruel than Michael in his attitudes towards Cohn. Despite also being a heavy drinker, Bill is often more light-hearted than the rest of his peers.Pedro Romero: The star bullfighter of the fiesta, Romero is introduced to Jake and his friends, falls in love with Brett, and then they split up when they recognize her inability to commit to a sustained relationship. His autonomy, steadfastness, and commitment make him a model for Jake, who possesses none of these qualities even though he aspires to them. Furthermore, the younger Pedro Romero having been born in 1905 represents the younger Civic Generation, often referred to as the Greatest Generation. This served to further demonstrate the Lost Generation's feelings of insecurity and disillusionment compared to their next-younger Generation.[edit]Major themesThe novel has heavy undercurrents of suppressed emotions and buried values. Its weary and aimless expatriates serve as metaphors for society's lost optimism and innocence after the war. The topic of war is rarely discussed explicitly by any of the characters, but its effects are alluded to through the sexual impotence of Jake and his war wound, and the behavior of the other characters, whom Carlos Baker described as floundering in an emulsion of ennui and alcohol. [3] The war is also present as the tragedy that affects the way characters are able to deal with themselves, and post-war society. The themes of the novel are cast against the background of the Biblical quotation the book opens with: One generation passeth away, and another generation cometh; but the earth abideth forever (Ecclesiastes 1:4).One way to read the novel is as an inverted novel of initiation. In traditional initiation stories, a young man leaves his home or community, goes through experiences that change his character or worldview, and returns to take his place in his community as a mature person. Jake Barnes, in contrast, leaves his autonomous position in Paris to join the group on their trip to Pamplona. His experiences there constitute an initiation, though not an initiation into the group but an initiation into self-reliance apart from the group. At the end, he renounces the detrimental influence of his friends and especially of Brett. If Brett is the sun of the title around whom the men revolve, Jake has succeeded in breaking out of the orbit and becoming an independent person (another sun) himself. Ultimately, the novel propagates the self-reliance and autonomy embodied by Romero, the bullfighter whom Jake admires.[citation needed]Alternatively, the novel delivers a scathing indictment of the culture which relies on simple exchange of values. Meaning is impossible to find in this entirely relational system. Jake hints at the possibility of an escape, of finding out what it's all about, with his work, his interest in the earthy activities of bullfighting and fishing, and his obvious dissatisfaction, yet he too is increasingly bound by the wretched ennui that seizes all. once the unsustainable, unreal, novel-society has disintegrated entirely is there any hope of progression, and this hope is but scant; the values of accumulation and expenditure on which the novel relies are those which underlie modern Western culture.
