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 Iwas grand too,in my overcoat.I cut quite afigure.And Iwas getting off.Guaranteed.There was no problem.It wasn't what Isaw that stopped me,Max.It was what Ididn't see.You understand that?What Ididn't see.In all that sprawling city there was everything except an end.There was no end.What Idid not see was where the whole thing came to an end.The end of the world.
Take apiano.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 Ican live by.
You get me up on that gangway and you're rolling out in front of me akeyboard 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 atime.And there were wishes here,but never more than fit between prow and stern.You played out your happiness,but on apiano that was not infinite.I learned to live that way.
Land?Land is aship too big for me.It's awoman too beautiful；it's avoyage too long,a perfume too strong.It's amusic Idon'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 aminority,and you better get used to it.Forgive me,my friend,but I'm not getting off.
This is the way the world ends Not with abang but awhimper
当认真看完一部作品后，大家一定收获不少吧，不能光会看哦，写一篇
海上钢琴师英文观后感1
Tim Roth stars in the first English language film by Cinema Paradiso director Giuseppe Tornatore. A fantastical, historical fable about a gifted pianist born and raised on a cruise ship
Though Italian director Giuseppe Tornatore's Oscar-winning Cinema Paradiso was one of the surprise hits of the 80s, subsequently his profile has been low. Perhaps in an effort to rectify this, here he presents his first English language film, a lavish and unashamedly sentimental fable based on a monologue by Italian writer Alessandro Baricco. Given a ruthless studio edit before its release, more than once it threatens to drift off into whimsy, but remains on course, thanks to the firm presence of Tim Roth in the title role.
Told in flashback, it's the story of Danny Boodmann TD Lemon 1900 (Roth)， so-named because he was found as an infant in 1900, lodged in a crate of lemons aboard a luxury cruise liner. Growing up at sea, it swiftly becomes apparent that 1900 is a gifted - possibly even genius - pianist. His legend spreads and jazz giant Jelly Roll Morton (Williams) even comes aboard to hear him play. Years later and narrator/former band member Max Tooney (Vince) is pawning the trumpet he blew alongside 1900 when he hears the ship is to be sunk. Could it be that 1900 is still somewhere on board, mooning over a mysterious beauty known only as 'The Girl' (Thierry) while working up a lonely rag?
To an extent it's a film uncertain about its own destination and some wobbly dialogue means 1900 himself remains a bit of an enigma. En route, however, are some great set-pieces such as 1900's knuckle-busting keyboard duel with Morton and his ride round the room on top of a piano. Ennio Morricone's score ensures the music is at least as important as the sumptuous visuals, and is supplemented by some great jazz piano numbers by Scott Joplin and (the real) Jelly Roll Morton.
海上钢琴师英文观后感2
Morning everyone,today i will introduce a film to you all.its name is the legend of 1900,its not talk about stories happened in 1900 ,its mainly about a pianist who was born, lived and died in a ship and never left the ship with a special name .yes his name is 1900 .an orphan was adopted by a black man working on the ship
To be honest i have download this film for a long time ,but i didn't watch it ,because i think it won't be very interesting .just a pianist ,what wonderful story can happen to him ?
But recently i just opened it by accident ,firstly it was really very
dull ,no famous film star ,no interesting plot,no wonderful kungfu.but finally my eyesight was caught by the pianist , He's a man so intelligent, that he can play the piano as if he has four arms,and also he's a man so stupid that he chose to stay on the ship gone with the wind and storm while he can ashore and become the most famous pianist.what's more ,at the end when the ship should be destroyed he still refused to leave and finally died with the ship.
Someone may see this film as a tragedy,but is it really one ?maybe the end was indeed so sad ,most of us would feel its a pity to see his died .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 desire of reputation and money on the land. only a man like him... can have such a beautiful story to tell... It is really difficult to image what will happen if 1900 set foot on land ?start an ordinary life and become vulgar ,be absorbed in chasing fame and fortune .no ,we don't want to see that ,so the story just stop here ,even painful and sad .
Just let us remember him 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.
《钢琴师》是根据符瓦迪斯瓦夫·斯皮尔曼(Wladyslaw Szpilman)1946年出版的回忆录改编的作品。德军突然入侵波兰，二战爆发。电台钢琴师斯皮尔曼还没来得及开始他的爱情，就被混乱的人群冲散。纳粹开始剥夺犹太人的一切，房屋、家庭、生命……当斯皮尔曼在一名犹奸的帮助下幸存下来时，他必须要躲藏起来。紧接着，死亡和饥饿的阴影时刻缠绕的他。罗曼·波兰斯基以他对黑暗人性的深刻洞察，讲述了钢琴家在一个充满敌意和荒谬的世界中挣扎的超道德故事。
长达150分钟的`《钢琴师》，始终在二战中华沙的废墟上徘徊，你的情绪也随之不断起伏。因为那是人类在面对死亡时坚忍不懈的告白书，是在没有人性的年代寻找人性光芒的旅程。波兰斯基使用一种残酷的方式制造节奏。他先来一点悲惨的东西，跟着再展示一点恶劣环境中的人性，然后再来点更惨的。比如先讲犹太区传言德国人要把没有工作卡的人送走，男主角就满世界替家里人找工作卡，后来终于凑齐，但给他卡的德国人或者波兰人却说“这东西帮不了你们”。果然，他们全家都被送到火车站，要运走。就在他要上开往灭绝集中营的火车时，一个替纳粹干活的犹太人救了他，让他去找地方躲起来。直到结尾，我们看到主人公重新西装笔挺地坐在广播电台里弹琴，然后跟着他的一个朋友去临时战俘营寻找那个最后救他一命的德国军官。这里来了压轴的一笔：他们没有找到。直到德国人上世纪五十年代死在了苏联的战俘营里后，人们才终于知道他的名字：威姆·豪森菲德上尉。这短短一行字幕，却带出了二战结束后仍然无处不在的冷酷现实。
给我留下深刻印象的是影片中那一幕：钢琴师来到一座被废弃的房子，这是德国人临时办公的地方。钢琴师踉踉跄跄走进那座房子，死神在那里等着他，还有钢琴。他躲在阁楼里，听到一阵轻微的钢琴声从底楼传来，是贝多芬的月光奏鸣曲。他去楼下偷罐头，要靠它维生，被一个德国军官发现了。他，就是那个弹贝多芬的人。钢琴师告诉德国军官自己也会弹琴。萧邦第四叙事曲在他手指下飘然而出，音乐先是生疏的，渐渐流畅起来，钢琴师的手指恢复了记忆。萧邦出现了，这个波兰人，他出现了，站在一个德国人和一个波兰人之间。而一直躲在故事幕后的导演站出来讲话了，他说：“我要用一个波兰人来感动一个德国人，然后用这个德国人的感动来拯救一个波兰人;用音乐来拯救一个钢琴师，用音乐来抹去国家和种族的界线，来超越偏见和仇恨。”我想，这就是《钢琴师》如此震撼人心的原因吧。
