珍珠港电影英文观后感

时间：2021-01-04 08:48:07 观后感我要投稿

珍珠港电影英文观后感

　　电影《珍珠港》讲的是二战期间日军偷袭在珍珠港的'美军，并直接迫使美国最终参加战争的电影。下面是小编为您整理的关于珍珠港的英语观后感，希望对您有所帮助!

珍珠港电影英文观后感

　　珍珠港观后感英语篇一

　　After i watched the pearl harbor，i was moved by the spirts of the American.And i even think if Chinese can brave,maybe farther results will be.I also moved by the love of Protagonists.But I can ”t think it as a war film or a romance film Under a real history background,many people classfied Pearl harbor as a war film ,but the film use a long length to prove the beauty and great of love .Absolutely the love of brother is very important,too.

　　At the beginning of the film ,the scene is very beautiful.I like the color of the sundown. Is‘s very beautiful .

　　A very valuable point in the film is to face the real history and the cruelty of war .The war has always been a cruel ,it’s will take away a lot of life ,and hurts people very much .So it will take lots of courage to face the war.

　　The music in the film for the film brought sublimation. The music with the scene fit very right .Because of the music the movie touched me more . My favourate background music is There You Will Be. And it’s also the movie theme song . This song is very popular in China even a Tai wan woman singer named Zhang Huimei get it in Chinese . It sounds very good , too. I think maybe There You Will Be is combe with the movie plot ,so it’s very moved.

　　The movieis a tangled story. Two close friends were in love with a woman. Because a person's death so that the other two people come together. But when Rafe suffered from the war and come back, All three were caught in a painful mood. At that time , the circumstances didn’t give them time to hesitate .Rafe and Danny went to war together .Director did not demonize the Japanese because of the hatred. the Japanese and Amercian forced to fight for their country .They were equally respectable . But in the Amercian characters’ story in the United States, the important is in order to defend the motherland regardless of themselves. Because of this spirt ,Amercian were invincible

　　The most exciting part of the movie is in the back, Let me memorable one is in this part .And theme of movie also in this part of the sublimation .War is not inevitable, but the war lets us grow, we have experienced this difficult years, we all know how brave and cherished we are. We believe that victory always belongs to the brave man, we are confident that as long as full of faith, life will be proud of us. we should cherish the affection, friendship, and love.Although the war is cruel, but we went with our heart that we really care deeply loved ones. War makes sexual experiences succinct and ublimation.

　　Evelyn said “Amercian suffered ,but Amercian grew stronger”.After so much catastrophic disaster Chinese people also can come out from the suffering and harm, and become stronger.

　　珍珠港观后感英语篇二

　　When you assume battle stations for "Pearl Harbor," make sure you sit near the aisle. You've got three hours to withstand, and only about half of it is war. This is definitely a two-bathroom visit movie.

　　It's not the length that makes a movie good or bad. It's the pacing. Some three-hour movies, like "Lawrence of Arabia," just glide by. But movies like "Pearl Harbor" drag along because they . . . take . . . their . . . time . . . about . . . everything.

　　Put it this way: When a Japanese military officer reports that "the task force" is 320 miles north of Pearl Harbor, we're one hour and 20 minutes into the movie. By then, you're ready to bomb something yourself.

　　Perhaps they should have called this "Bore-a, Bore-a, Bore-a."

　　Incidentally, although this Walt Disney movie is based, inspired and even partially informed by a real event referred to as Pearl Harbor, the movie is actually based on the movies "Top Gun," "Titanic" and "Saving Private Ryan." Don't get confused.

　　And don't be worried about emotional intensity. It's going to take a special effort on your part (probably informed by firsthand wartime experience in World War II) to actually appreciate the emotional impact of what happened on Dec. 7, 1941. "Pearl Harbor"-the-movie, produced by Jerry Bruckheimer and Michael Bay (also the director), doesn't evoke that time so much as turn it into a pre-Fourth of July fireworks show.

　　The movie's emotional impact is not helped by the characters. By the time the Japanese are blowing ships out of the water, we have met (and already become sick of) our blandly delineated sweethearts, flying-crazy pilot Rafe McCawley (Ben Affleck) and intelligent, dedicated nurse Evelyn Johnson (Kate Beckinsale).

　　We have also observed the lifelong friendship between Rafe and his pal Danny Walker (Josh Hartnett). The movie starts with Rafe and Danny as kids, sitting in a motionless crop duster plane, pretending to shoot enemy planes. Some two hours later, they'll be mounting the American counterattack against the Japanese. "Danny, let's play some chicken with these Jap suckers!" yells Rafe.

　　In what amounts to a superfluous first hour, Rafe, desperate for military action in pre-Pearl Harbor days, volunteers for the Royal Air Force. Suddenly, he's missing, leaving Evelyn and Danny to pick up the pieces and each other. Why waste time worrying if he'll reappear in time for Pearl Harbor as well as a romantic dogfight with Danny? He's Ben Affleck, the movie's top-billed player.

　　There's more to this so-so movie, including a completely formulaic subplot starring Cuba Gooding Jr. as a ship's cook who boxes and machine-guns his way to r-e-s-p-e-c-t (loosely based on a real person, Doris "Dorie" Miller), and Hans Zimmer's relentlessly syrupy score. But let's cut to the chase: those central 40 minutes of blitzkrieg special effects. Isn't that why people will be lining the block? My take: The visuals are well done but not mind-blowingly memorable. It would take a director far more gifted than Bay to outdo James Cameron in "Titanic." Perhaps intimidated by this, Bay gives us many scenes featuring marooned men in the water, and many others stuck inside majestic, sinking hulls. And when the Japanese planes strafe those men, he goes underwater – like Steven Spielberg did in "Saving Private Ryan" – to show the cool, glossy white trajectories the tracer bullets make underwater.

　　Obviously, imitation will get you everywhere.

　　珍珠港观后感英语篇三

　　Pearl Harbor is a monstrous, costly and utterly disrespectful abomination of film with pretensions of serious emotional weight and proper historical context. With the cost of the movie comparable to the damage costs of the actual Dec. 7, 1941, attack, more attention should've been paid to the script and research instead of all the models and gasoline for an attack sequence that, while spectacular, was more appropriate for a Star Wars clone or a video game than an actual World War II-era film.

　　And that's about the only "positive," if you can call it that, of that hack Michael Bay's Oscar-bait project. Many history buffs have ripped the movie from the angle of historical inaccuracy and omission. Assuming that Pearl Harbor is not meant to be a documentary, but a work of historical fiction, lack of historical accuracy and comprehensiveness is by far the least significant of Pearl Harbor's problems, per se, although such blatant historical carelessness certainly starts to say a lot about the movie as a whole.

　　But, if Pearl Harbor's aim was to be a work of fiction, it has also miserably failed at that. It fails as literature, and it fails as a film. Pearl Harbor tries to be an amalgamation of three past classic movies on the subjects it covers: 1) From Here to Eternity, a clever and well acted telling of the stories of several characters' romantic pursuits and personal struggles right before the attack on Pearl Harbor disrupted everything, 2) Tora! Tora! Tora!, a mostly factual, well balanced depiction of the planning and execution of the actual Pearl Harbor attack with vintage cinematography, and 3) Thirty Seconds Over Tokyo, a meticulously detailed depiction of the Doolittle Raid with a schmaltzy but genuine love subplot involving one actual soldier and his wife. But Pearl Harbor falls far short of all three aforementioned films on not only their own terms, but simply as movies.

　　Instead of From Here to Eternity's clever dialogues and personal plot twists and romantic moments dripping alternately with irony and genuine warmth, Pearl Harbor wastes its first hour and a half of screen time setting up a sophomoric love triangle that could have been ripped straight from daytime television soap operas and trash talk shows.

　　The triangle involves two generically glamorous flyboys, played by Ben Affleck and Josh Hartnett, who have been friends since childhood. Even their names, Rafe McCawley and Danny Walker, are mundane. Rafe (Affleck) falls in love with a nurse who presides over his physical named Evelyn (played by Kate Beckinsale), who is also generically glamorous. Rafe and Evelyn spend the next hour or so exchanging pallid lines of dialogue that try too hard to hammer into the audience that, yes, they are in love. Sort of like Shakespeare or Petrarch without any brains and about four centuries too late. In any case, Rafe goes to Britain to fly for the Royal Air Force, where he faces serious butt-kissing from the Brits in a disgustingly patronizing depiction of both British and Americans, and gets shot down over London. But (who didn't see this coming) he lives.

　　But Evelyn thinks he's dead. And so does Danny (Hartnett). After the token few minutes of mourning, Danny and Evelyn fly above Hawaii and then make it like rabbits under parachutes, invoking obvious parallels to Titanic's "I'm flying" scene followed by good ol' shagging in a car backseat. More faux-sonnet dialogue follows. Then, just like clockwork, Rafe comes back, poor Evelyn is caught in the middle, and Danny and Rafe fight Jerry Springer-style. Then it gets interrupted by the spectacular but oddly fake and inhuman money siphon ... er ... I mean, attack sequence characterized by CGI copies of trapped and screaming people.

　　Meanwhile, Pearl Harbor occasionally alternates to shots of somber-looking Japanese spies and soldiers planning the attack, all accompanied by evil-sounding music, going out of the way to make the Japanese look like devious souls out for revenge because America wouldn't give them their oil (convenient partial reasoning). Then, in an attempt to make the Japanese appear somewhat remorseful, the script calls for Admiral Yamamoto to utter his famous "brilliant man" and "sleeping giant" lines.

　　After the attack, Jon Voight does a wonderful impression of Peter Sellers' Dr. Strangelove. Only problem is, he was supposed to be Franklin D. Roosevelt.

　　O, and as for Rafe and Danny? They've sort of made up. Heck, during the attack, they even team up to presumptuously usurp the roles of the two historical heroes of the Pearl Harbor attack, Lts. George Welch and Kenneth Taylor, who took to the skies and shot down anywhere from six to 10 Japanese planes.

　　Then our omnipresent plastic heroes listen in on a Top Gun-esquire rah-rah by Alec Baldwin's interpretation of Col. Jimmy Doolittle, which leads into a half-baked annotation of the historical Doolittle Raid, which has the threefold purpose of making sure our two heroes achieve good ol' American vengeance on the Japanese, to slap some convenient closure on our three-hour General Hospital episode (in case you couldn't figure it out, Danny dies, and Rafe and Evelyn live happily ever after with the parachute baby Danny Jr.), and to make me wonder why this movie was titled "Pearl Harbor" and not "Babes, Bombs and Butt-kicking," or something rather. Then the credits roll, accompanied by a pop song that sounds like a rejected idea for Titanic.

　　The title "Pearl Harbor" presumes that this movie is the ultimate cinematic authority on the attack. But instead it amounts to little more than a three-hour soap opera with putrid dialogue that has the gall to give credit to generic G.I. Joes for key historical roles. No other work of historical fiction has at the same time taken itself so seriously and managed to show such irreverence both for its subject and for the very craft of film-making.

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