《芭芭拉》经典观后感10篇

　　《芭芭拉》是一部由克里斯蒂安·佩措尔德执导，尼娜·霍斯 / 罗纳尔德·策尔费尔德 / Rainer Bock主演的一部剧情类型的电影，文章吧小编精心整理的一些观众的观后感，希望对大家能有帮助。

　　《芭芭拉》观后感(一)：比较《别人的生活》《丽塔》和《芭芭拉》中的东德。

　　匆忙写的，没有edit,，有语法问题或拼写错误请见谅，才B+ 连A都没拿到。翻译随后跟上。

　　The Legend of Rita (German title: die Stille nach dem Schuss) is a German film, released in 2000, directed by Volker Schlöndorff. The film tells the story of Rita Vogt, a member of the extreme left wing terrorist group, Red Army Faktion (RAF). She is responsible for bank robbery, breaking into a prison to rescue her partner and killing a policeman when she is on exile in France. She then finds her place in East German, where she is provided with a new identity by the Stasi. Rita decides to stay in East Germany although her partners decide to leave, because she believes East Germany is the country where her political ideal is fulfilled. Barbara was released in 2012, directed by Christian Petzold. In the 62nd Berlin International Film Festival in 2012, where Christian Petzold was awarded the Silver Bear for the Best Director. The protagonist, Barbara Wolff, is a doctor who used to work at The Charité – Universitätsmedizin Berlin, the oldest and most prominent hospital in East Berlin. She is transferred, in fact demoted, to a clinic in a small village in Northern East Germany and makes the Stasi watch list, because she expressed her wish to go to the West. In village she meets Andre, a doctor at the clinic she works at. He is supposed to watch Barbara and report her activities to the Stasi agent in the village. Also, she meets Stella, a girl who was detained at the Torgau Juvenile Workhouse for unknown reason, Barbara’s former patient, for whom Barbara sacrifices her opportunity to run away to the West. The Legend of Rita and Barbara are both post-reunification German film about the former German Democratic Republic (GDR) and they both attempt to challenge the conventional west-centric discourse of the memory of the GDR in media with different approaches. East Germany is also stereotypically presented as simply Stasiland, no freedom of speech, failed political system, economically and socially backward. Even though Schlöndorff tried to avoid the conventional West-triumph-over-east narrative, the

　　Legend of Rita still taps into many East German stereotypes. On the other hand, Barbara reconstructs a more realistic GDR in colour and presents a more complex set of characters in the former socialist state.

　　The Stasi is commonly seen as the dominant ruling power over the East German people. The East German people are simply seen as the victims of the state apparatus. The most well-known film about the former East Germany is the Lives of others, directed by Florian Henckel von Donnersmarck. The film won the 2006 Academy Award for Best Foreign Language Film. It also had won numerous awards elsewhere, including Deutscher Filmpreis for the best film, best director, best screenplay, best actor, and best supporting actor. The Lives of the Others sets paradigm of the public discourse of the former GDR. It is so successful because the film reconstructs the former East Germany as dark oppressive country in which people have no freedom of speech. The streets seem dark and grey. Donnersmarck uses extra-diegetic soundtrack frequently to create the oppressive and unpleasant environment of GDR and guide the thought of the audience further into seeing the GDR as the oppressive force over the population. The Lives of the Others harshly criticize the former East German socialist regime, and clearly demonstrate the simplistic binary of the state as the perpetrator and the free-loving people as the victim. Additionally, the narrative of the Lives of the Others exudes optimism towards the reunification in 1989. (Cooke 2011)

　　The end of socialist regime marks the liberation of people, including the artists. Dreyman’s new play featuring an African-German actress marks the progress in anti-racism. The Lives of the Others emphasizes the Stasi as the powerful tool of the state machine overseeing and controlling the people all the time. Their networks is ubiquitous in East German society

　　and the people do not have any chance to resist. Every step taken in East Germany is observed by the Stasi. If anyone shows any signs of faithlessness to the state, he or she will be punished immediately. The Stasi is the ruthless and effective enforcer of the will of the state (Moeller and Lellis 2012). The Legend of Rita and Barbara tackle the popular negative discourse of GDR history not by denying the brutality of the Stasi but by highlighting not only the oppression of the state apparatus but also the revolutionary political ideal and a place where love is possible in spite of the state oppression (Pinfold 2014).

　　Although, West Germany is presented as the Promised Land in the Lives of the Others, Rita and Barbara, eventually willingly surrender their opportunity to live in West Germany. West German society is not at the centre of the stage in either the Legend of Rita or Barbara, however both films allude some facts of West German society. In the Legend of Rita, Rita’s first of three stories takes place in West Germany and in Barbara, the interaction between East and West can be seen through Barbara’s West German boyfriend and his business partner.

　　arbara’s boyfriend, Jörg, is a businessman from West Germany, who frequently travels across the border with his business partner. He and his partner comes into East Germany with their Mercedes, nice suits and ties, which distinguish them from the local East Germans, who drive Trabis and have to wait for years after they order it. He comes to the East to visit Barbara twice in the film. During the first visit, when Barbara and her boyfriend are meeting in the wood, the business partner of her boyfriend, Gerhard has conversation with a local East German. The local man shows curiosity of the Mercedes and that indicates the lack of variety and poor quality of East German car. Later when Barbara’s

　　oyfriend returns to the car, Gerhard imitates the East German in sarcastic voice: “is that a Mercedes, how much do they cost, how long did you have to wait, we waited eight years for ours and that wasn’t bad” and ask Barbara’s boyfriend: “was is it at least worth it？” This scene shows that the West German feel they are superior to the East because of the economic development.

　　In spite of its poor performance and quality, the Trabant, produced by VEB Sachsenring Automobilwerke Zwickau in Zwickau, Saxony, is distinctive symbol of the extinct former GDR. Various models of Trabants in different colours are collected in a Trabi museum in Berlin 25 metres away from Checkpoint Charlie. In Dresden, people today can experience relive the life of a former East German by driving a Trabant themselves. The Trabant is indeed the people’s car in East Germany. The Trabant incorporate more cultural and political nuance in the Legend of Rita in the context of Ostalgie. Rita spends the last of her West Deutschmark on a Trabant as part of her integration process into the East German society.

　　The second rendezvous between Barbara and her boyfriend took place in a hotel. Barbara sneaks into the hotel room from the window, where they stay and discuss their future. In the hotel room they hear exaggerated sex noise from Gerhard’s room. Her boy explains that Gerhard has met a girl, Steffi, and he said he loves her. Barbara points out the nature of their relationship immediately: “Because she can’t follow him.” She meets Steffi when her boyfriend and Gerhard go out to attend a meeting in the restaurant. She says to Barbara:

　　teffi: “If he marries me, do you think they’ll let me leave？”

　　arbara: “I don’t think so.”

　　teffi: “Do you know your stuff about this？”

　　Conversation implies that Steffi is unaware of the nature of her relationship with Gerhard. Gerhard used presents in exchange for sex with Steffi. To Barbara, the romantic connection does not exist between Steffi and Gerhard. The relationship between them is simply a trade between sexual intercourse and presents. Yet, Gerhard is not completely honest in this relationship. He claims that he loves Steffi and that makes Steffi dream about one day Gerhard will marry her and take her out of the GDR. It is unlikely he genuinely falls for an East German girl, because he talks about the East with contempt when Jörg comes back from his meeting with Barbara in the wood recently. Steffi is amazed by the variety of jewelry in the catalogue, which are unavailable in East Germany at that time. Thus, Gerhard, a businessman from the West, has the chance to exploit the gullibility of the young East German girl and the lack of variety of goods in East Germany. During Barbara’s conversation with Steffi, she looks reluctant while Steffi shows her the catalogue with ostensible excitement on her face. The capitalist consumerism is not what she wants in her life. Moreover, just before Jörg leaves for the meeting, he proposes “what Petzold regards the key sentence of the whole film”:

　　Jörg: “Once you’ve come over, you’ll be able to sleep late.”

　　arbara: “Why is that？”

　　Jörg: “I earn enough, you won’t need to work.”

　　The conversation between Jörg and Barbara is important in the narrative of the film is because it makes Barbara reconsider her wish to go to the West. She realises that going to the West may mark the end of the medical career which she devotes herself into and is her identity. Barbara had an accomplished and fulfilling career in East Germany. Although

　　he is reassigned to a small clinic, she once worked at the famous Charité hospital in Berlin. Consumerism, fear for change in her professional life and the growing affection toward Andre contribute to her decision to stay in East Germany at the end of the film.

　　etzold uses Chic’s at Last I’m Free as then ending theme of the film. The connotation of the song is open to different interpretation; it could possibly mean that Stella finally escapes, or a more likely explanation would be Barbara has the freedom to choose where she lives on her own will. Schlöndorff, in The Legend of Rita, also addresses the freedom of choice and at the same time justify people’s resentment to the government in the East and why Rita is more motivated to be a good East German citizen than her peer at the factory. In the scene Rita and Tatjana having a conversation after work by the window, Tatjana asks Rita:

　　Tatjana: “Don’t you regret coming here？”

　　Rita: “I’ve always been left politically. I didn’t have a lot of options. I used to be a waitress.”

　　Tatjana: “Funny, you come here voluntarily and I want nothing more than to get away.”

　　Rita: “This is how it is, here and there.”

　　Tatjana: “I’d like to see that with my own eyes. Maybe I’d even come back, then I’d be here on my own will.”

　　This conversation is indicates that people in East Germany do not have the liberty to have their own political opinions, but it also implies that the western system is not necessarily superior to the socialist model in East Germany. Freedom is not simply moving to the West or the West annexing the East, but the ability to make choices.

　　chlöndorff dealt with the political issue between East and West with great amount of political sensitivity. He challenges the image of the former GDR as a failed political experiment but as a socialist utopia. A Strong anti-capitalist message is delivered in the Legend of Rita. Schlöndorff intends to upset the accustomed view of the GDR as failed political system and question the commonly accepted western system that triumphs over the East. Rita herself is left-wing political. Unlike Andreas Baader in the film the Baader-Meinhof Complex, who appears a violent egocentric extremist, Rita is well aware of the political motivation behind her radical actions in the West Germany. In the beginning of the film, Rita’s monologue states that her intention is to abolish injustice as well as the government. Politics were war throughout the world. She has Karl Marx’s bust and books of iconic revolutionary figures, such as Ho Chi Minh and Che Guevara. Moreover, she is more anti-capitalism than pro-violence. This is demonstrated in the scene she has a heated debate with her partners when they are on exile in France. Although she shot the policemen who pursues her in France, she did that involuntarily because she was trapped in the underground parking lot. The political message intended in the Legend of Rita is delivered directly through Rita is speech in front of a group of workers after the wall came down. She believes that East Germany is a place everyone is equal; People will not be fired or kicked out of their apartment, the socialism in East Germany was a great attempt and a revolution, it is supposed to be a world that is not ruled by money and people should have faith in their political system. Her speech incorporates the social and economic issues in the former East Germany post-reunification. Many people, who worked within the socialist system, lost their jobs as the system collapsed. Rita is portrayed as the personification of the political ideal she holds. During nearly decades between early 1970s and 1989, Rita

　　did not age at all, thus it can be interpreted she is more an epitome of socialist ideals rather than a realistic human being. Rita is also a more devout socialist than any local East German in the film. She is rewarded “für vorbildliche sozialistische Arbeit” (for exemplary socialist work), and she is disappointed that the East Germans do not understand the political concept of the GDR (Moeller and Lellis 2012).

　　essimism toward the reunification is expressed in the Legend of Rita, as the reunification marks the end of utopia. If Rita represents her political ideals, the death of Rita at the end of the film symbolizes the end of political ideal. From the German title of the film, die Stille nach dem Schuss (the silence after the shot), this message is implied, yet it is lost in the English translation. After the reunification, the two German states became one, and Rita’s real identity is exposed. She is then wanted on both sides of the disappearing border. With the retort of the German national anthem, Tatjana is brutally pushed against the wall by a group of policemen when she is trying to find Susanne (Rita’s first alias). The authority and brutal law enforcement still exist although the Stasi is disbanded as the former East Germany being absorbed by the West. The film ends with Rita being killed when she was trying to ride across the border as the retort of German anthem plays again.

　　As opposed to the Legend of Rita, Barbara is almost apolitical. The former GDR is set as the background of the love story of Barbara. The absence of political manifestation makes room for the multidimensionality of characters in Barbara and a different experience of the history of GDR. Debbie Pinfold states that Petzold breaks down the perpetrator v. victim binary in which the GDR is remembered by the public. This binary mindset is account for the success of the Lives of the Others, in which the GDR is cleanly

　　divided into the state as the perpetrator, represented by the Stasi officers and government officials, and the artists and people as the victim.

　　The subtle dynamic relations of power grant complexity of characters in Barbara. In the first scene of the film, Barbara comes to work by bus. Although she arrives early, she sits in front of the clinic to smoke a cigarette and would not enter the workplace. Andre and the Stasi officer, Schütz, watch her from the window on the second floor. The position of the characters indicates the power relations at this moment. Barbara is a new doctor in the village who has been recently demoted from the most prominent hospital in Berlin and she is in a new place where she knows no one. Barbara is placed on a relatively powerless position in this scene, when she is watched unawares by Andre, a doctor who has already integrated into the village and is supposedly collaborating with Stasi, and a Stasi office, who represent state authority and power over people (Pinfold 2014).

　　arbara’s vulnerability is exhibited in the scenes, which show she is visited by the Stasi officer. She is visited twice in her apartment throughout the film. The process of the visits includes not only questioning and going through her belongings, but also cavity search. She is thoroughly searched when she comes home late and after Stella escapes from the Torgau Juvenile Workhouse. According to the time when the Stasi officers come to Barbara’s place, then time she comes home and her relationship with Stella is watched and reported to the Stasi by the superattendant at her apartment and Andre or other colleagues. Barbara is forced to stand against the wall in her own home while Schütz sits amidst Barbara’s clothes on the floor and other Stasi agents carry on they search and investigation. Barbara’s vulnerability peaks during the second visits of the Stasi agents. When she hears the agent who conducts cavity search knocking on the door, Schütz asks her to open the

　　door without any emotion, she begs Schütz in shivering voice, yet Schütz remains emotionless and the cavity search carries on subsequently.

　　However, the relation of power reverses in the film when Barbara goes to Schütz’s to look for Andre, while he attends Schütz’s sick wife in bed. Barbara comes in uninvited when Schütz sits vulnerably in the room. His vulnerability is exposed to Barbara, the woman whom he once inflicted terror upon, when he is being watch by Barbara emotionlessly from a distance. Hauptmann Gerd Wiesler in the Lives of the Others works with mechanical efficiency. His function as an agent of oppression is enforced through the presentation of the absence of a personal life. Unlike Wiesler, the character of Schütz is enriched with a family life besides his profession as a Stasi agent. Schütz carries both occupations as man, who is capable of love and feelings, and a functional Stasi agent when he carries on missions at Barbara’s apartment.

　　Furthermore, cultural reference is used in Barbara to recreate a relatively more authentic experience of GDR and enrich the characters in Barbara with complexity. I Andre in Barbara is an admirer of art. He attempts to connect with Barbara through discussing Rembrandt’s Anatomy Lesson of Dr. Nicholaes Tulp. He also enjoys literature and music. When Barbara comes to his apartment, he has photographs and paintings of different style hanging on his wall, and a piano standing in the living room. Instead, the Lives of the Others presents GDR as a cultural wasteland where the only artworks allowed are those that praise the regime (Fisher 2013).

　　The Legend of Rita has a conclusively pessimistic ending as the protagonist, who is the personification of socialist ideals, is shot dead in the end of the film with two lines of text appearing on the screen: “Alles ist so gewesen. Nichts war genau so.” (This is how

　　everything was, more or less). Unlike the Legend of Rita, Barbara has an open ending and it raises more questions than it answered. The film ends with Barbara returning to the hospital breathing heavily after sending Stella off to Denmark. There is no dialogue between Barbara and Andre in the hospital. Many questions are left to the audience, such as how will the relationship between Andre and Barbara develop after she missed Mario’s operation and is suspected for assisting a fugitive from the Torgau Juvenile Workhouse escape the country. In conclusion, both the Legend of Rita and Barbara challenge the public narratives of the history of the former GDR set up and reinforced by the Lives of the Others with different approaches. The Legend of Rita arouses sympathy for the protagonist and the end of political ideals that Rita upholds. The film challenges the common image of GDR as a political failure and presents the ideals as brave and revolutionary. Barbara, on the other hand, focus on the complexity of East German society other than politics. The film reconstructs the GDR in colour and warmth with elaborated complexity of characters and enriching cultural references. It does not only challenge the familiar narrative of the GDR history as simply Stasiland but also avoids the conventional discourse of GDR as an extinct political system and recreate the individuality of the memories of professional and personal lives in the former East Germany with the foregrounding of Barbara’s love story. And through Barbara’s narrative, the people who once lived in GDR is more than a collective object to the oppression of Stasi in the history, but a group of individuals who have their very own stories.

　　《芭芭拉》观后感(二)：文艺片的调调

　　这部电影似乎是典型的文艺片的调调，缓慢的节奏，平淡的情节，和深沉的主题。

　　或许和我现在的境遇有关，我现在不是特别喜欢这个调调，太沉闷，太压抑，看得我无比焦虑。

　　现在，我喜欢看在糟糕的境遇中，依然在乐观战斗的人和事，就像罗伯特·贝尼尼在《美丽人生》中所展示的那样。世界是一团糟糕，但因为这么一个人，因为这个人的美丽，它不仅没那么糟糕，甚至看起来也变得能够接受，也变得美丽起来。

　　不仅仅是普通意义上的励志电影，是如何让人生变得美丽的电影。

　　所以我很爱罗伯特·贝尼尼。

　　或许，等我那天能够感觉轻松又悠闲的时候，才能耐下心来欣赏这种现在看起来沉闷的节奏。

　　《芭芭拉》观后感(三)：一个女人的冷与热

　　星级：★★★★

　　【剧透警告！】

　　看这部电影之前你最好不要被剧透，哪怕是一丁点剧透的信息，否则乐趣大减，它的叙事藏得很深，都靠各种不被轻易道明的细节，把观众一直被蒙在鼓里，最后真相大白了，虽然回头看一切故事其实挺平淡的，但那份浪漫足以弥补缺憾了。

　　克里斯蒂安·佩措尔德凭借《芭芭拉》获得了第62届柏林电影节的最佳导演，这是一位踏踏实实用镜头讲故事的导演，层层剥茧般展现了一个神秘女医生冷与热、现实与理想的多面性。故事发生在东、西德分裂期间，一位女医生来到远离柏林的乡镇医院，随着剧情的深入，这位外表冰冷的女医生被邻居和秘密警察监控着，医院里还有一位热忱的帅气男医生对她兴趣强大，这一开始让她很不安。她和男友幽会，秘密计划着什么，不了解德国那段历史的观众可以想象朝鲜人试图偷渡去韩国，或者你偷渡到任何一个周边的国家基本上是一个概念。

　　这是一个充满地域性特色的故事，导演却是试图的弱化各种外在的修饰，将重点转向一个女人的内心，镜头几乎时刻绕着这个充满秘密的神秘女子，在真相大白之前，影片的悬念和紧张氛围时刻牵动着观影情绪和剧情推进。故事几乎都在采用双线叙事，一条线是芭芭拉医院之外的私人生活，一条线是医院内的公共生活，一个体制外，一个体制内，这更凸显了整个社会中人心的状态。芭芭拉试图用一个冷酷的保护罩远离生活，但男医生的爱和对弱者的悲悯让这个故事发生了意想不到的转折，她装出来的冷依旧抵不过骨子里的那份热。

　　很多德国导演都有柏林墙情结，打个比方，东德当年就像《铁西区》里当年的东北三省重工业城市，那时候工厂就是东德人生活的全部。柏林墙倒塌之后，工业重地被推倒，工人阶级没了，政府岌岌可危了，很多外地的居民纷纷涌入柏林，柏林成了一个特别的地方。有人试图偷渡，人们依旧工作生活，整个社会虽处于奔溃的边缘却依旧在正常运转，但人心充满恐惧，看不到希望和尽头，周围还被秘密警察监视着。《芭芭拉》中的人物就是这样一群人，他们从未来看不到希望，他们被牢牢的禁锢在体制内，自由与和谐社会看上去只是一个虚无缥缈的梦想，这点上生活在天朝的人们肯定非常有共鸣。片中的角色很清楚这点，于是这少数的一小群清醒者便惺惺相惜，去过理想中那种与世无争的和谐生活。你甚至可以说这是一个爱情故事，有着一个充满真善美的浪漫化结局，影片的风格虽然冷峻，但骨子里的那份善良和悲悯之心让人内心温暖。

　　生活新报

　　《芭芭拉》观后感(四)：我以为我会选择西德

　　回到家甩了鞋窝在沙发里看电影，习惯了几个人一起共度时光就会变得讨厌独处，但也许也是其它原因。一个人的时候我基本不会挑电影类型，打开一个就看，从不先查它会讲个什么故事，大概有时觉得会有意外之喜，有时也只希望忘记自己一个人或者是更加沉入自己的世界。

　　这部电影按常理对我来说也是闷片吧，虽然相比《广岛之恋》已经好太多，很奇怪的我居然就这么沉进去了，很少的演员，没有嘈杂喧嚣，故事讲得也很好。开始的时候我理所当然的觉得东德警察太变态，邻居女人太冷酷，住的地方太偏远……

　　女主角高挑优雅，与这个地方格格不入，不肯多花一分钟上班，不和同事交谈，生硬对待男主角的热情，我有时很希望自己是这样的一个女人，可惜我话多如水，时常犯二。她从没想过要在这个地方久留，她要逃往的地方看起来自由很多，还有一个亲爱的情人，冷傲的女医生在和情人见面时，就变成了另外一个人了，其实她本质就是这样的，善良温暖:安慰得了脑膜炎的年轻姑娘，呵护为情自杀的男孩，她所有的冷漠独立也是自己的一道围墙而已。

　　男主角有些壮实，宽宽肩膀浓密络腮胡，脸上总是温柔笑容，他看起来像一头忠实的熊，他载她回家，对她倾诉过往，想和她一起所以也弄了一辆自行车，他邀她回家，为她煮蔬菜杂烩，我看到了他的家:可爱的小沙发，很多的书，原木的餐桌和椅子，他在厨房里切着蔬菜给她讲着小说里的故事，外面可能夕阳正好。

　　我闭上眼，想着他们穿过的安静的林间小路，想着田野里会开的各种野花，想着小铁轨和空荡荡的小火车，想着翻过山坡就能到达的海，想着夕阳的光照在屋顶，家里有个爱你的为你下厨的男人。

　　我以为我会为了更自由选择西德，可后来我发现我宁愿留在这里。当然这是我，不是那位女医生，她留下来的原因，可能都写在最后镜头的那个眼神里了。

　　《芭芭拉》观后感(五)：芭芭拉，一个女人的史诗

　　芭芭拉，一个大时代的小人物，一个平凡的女性。我喜欢德国的片子，关于东德西德那些我并不清楚真相的历史，关于那些德国人，关于德国人的那些事。窃听风暴，再见列宁，我们的父辈，大背景下小人物的故事。政治体制对人民生活的影响，不是人民激烈直白的高谈阔论，不是个人政治意见的随意表达，人人都不是政治家，我们掌握的只有自己的命运，时代命运的走向，无人知晓。

　　芭芭拉，并不是普通的女性，她还是一个医生。沉默寡言，总是很安静，刻意的和那个陌生环境保持距离，只是为了在那个动荡不安的年代个人本能的自保。这个沉默甚至冷漠、又略显神秘的女人，出现的时候，吸引了周围很多人的目光，特别是那个男医生。几次男医生的主动示好，都被芭芭拉冷漠的拒绝了。当患者痛不欲生，医生们束手无策的时候，她坚定的表达了自己的意见，最终挽救了生命。这一次，男医生更加坚定了信心，改变策略，主动走近芭芭拉。每一次不速之客的突袭，每一次践踏女性自尊的搜身，无处不在的监视，这样的生活，一般人也许早就崩溃了，可是芭芭拉没有，坚强的活着，爱人的等待是她生活的希望与寄托。

　　片子有两个片段，出现最多，也给我的印象最深。一个是骑车，一个是抽烟。当看到芭芭拉骑车穿行的时候，我能看到她脸上那不易察觉的微笑，只有这样的时刻，才是自由的。压抑沉闷的生活和马上要远走高飞与爱人相聚的复杂感情交织在一起，那是一个怀疑的时代，芭芭拉没有朋友，没有可以倾诉信赖的对象，将一切深埋心底，保守秘密。只有抽烟来宣泄，寻找慰藉，片刻的解脱。

　　那个小女孩的出现，无疑打破了沉闷的一切。小姑娘的到来，让芭芭拉和男医生了解彼此，芭芭拉和爱人的久别重逢，新生活的期盼。她开始为离开做准备，那段时间监视和搜查变得更加频繁和严酷，还好一切顺利，芭芭拉只有等待。这是一段难熬的日子，偏偏小女孩又出事了。芭芭拉必须做出选择，选择留下继续恐怖可怕的非人生活，还是离开去过自由的新生活。留下，则有可能再也见不到自己的爱人，这里的一切都是那样陌生不安，她是无助的。离开，就可以和爱人团聚，自由的生活，那里的一切都是那样熟悉亲切。当她送小女孩离开，自己痛哭的时候，那一刻，芭芭拉的无助与绝望全部倾泻而出。一个生命的重生，另一个生命的诀别，这何尝不是一种生离死别。留下，前途未卜。重逢，遥遥无期。再见，再也不见。

　　男医生也担心，芭芭拉的离开，他伤心落寞的眼神有多少舍不得。芭芭拉的到来，也许就是一种冥冥之中的缘分，打开紧闭的心门，好不容易看到一道光，却又消失不见。她的归来，一个眼神，一抹微笑，千愁万绪，千言万语，都已随风而逝。大时代下一段无人知晓的也许不算爱情的故事，就此结束。每一个时代，每一段历史都不会在乎人间悲欢离合，但是，我在乎。因满天繁星，夜空璀璨闪耀。人间沧桑，方写世代春秋。

　　芭芭拉，一个女人的史诗。命运桑田变换，惟愿幸福眷顾。

　　《芭芭拉》观后感(六)：不同以往的与“制度”有关的电影

　　女医生芭芭拉从东德首都医院被流放到乡村小医院，但即使这样，她仍在计划偷渡西德……

　　这是一部不同以往的与“制度”有关的电影，德国出品。大多此类影片，对制度本身和其引发的“事件”以及迫害的残酷性都会以极其写实的手法来描述，这种视觉上的直接与震撼会大大加深观者的心理认同感。而本片却反其道而行，采用相当内敛的表述方式，甚至对某些“可渲染的”“残酷”镜头有意避回，对制度、事件、戏剧化冲突、感情的变化等都作了相对非直接化的“静态”处理。这里，压制了一切表面化的张力，使认知有了一个更加冷静的抽象化的延展空间，同时，把“变化”控制在一个极小的空间范围内，使得这个空间的密度极大，这样，压抑的情绪变得更加凝重的同时也充满危险。

　　《芭芭拉》观后感(七)：Barbara

　　low at the beginning, it is not hard to like the film as it progresses. Beautifully shot and so many intricacies weave elements of Barbara together. Nina Hoss' character slowly grabs the attention of the audience as we see her transformation from a cold and calculating character, which is then slowly peeled into a more brittle human being. Hoss takes her transformation along with the film, and a quietly powerful movie is created. An extremely interesting character that is worth reviewing again in the future.

　　《芭芭拉》观后感(八)：或者逃亡，或者回归

　　在挣扎了半个世纪之后，一直渴望逃亡的芭芭拉，在最后的一秒选择留下。

　　从那里出发，向西走过数千里，你会来到一个城市，时间再往前推几十年，你发现，在这个城市边有堵漫长厚实的城墙，有连绵不断的铁丝网，还有游荡在你周围的无数眼睛。

　　即使这样，那里的人依旧在不断在逃离这座城市，一面墙并不能阻挡人们的渴望，铁网并不能阻断自由，任何一种细小的机会，只要有，他们都会选择离开。

　　芭芭拉是一位流放到这里乡村小医院的医生，她冷的异常，刻意和周围的人保持距离，因为她筹划着逃亡，在那边有他的爱人。这里的一切对她而言都只是暂时的过渡，她没必要和这里的人群热闹熟悉，因为她终将会离开这里，即使是对她十分热情的一生安德鲁，她也表现的不愠不火。

　　当安德鲁开车载她回家的路上，她的回答让安德鲁尴尬极了。她洞悉人情世故，但却不会融入人情世故，她这时又像张爱玲一样敏感和直接，不会敷衍。其实，安德鲁所做的无非只是想和她说说话，聊聊天。

　　芭芭拉有着她自己的人生原则，来到医院，不会提前一分钟工作，这多余的一分钟她宁愿在医院下面的长椅上坐着抽根烟，然后等上班的钟声敲响，她才迈着优雅的步伐走入。她宁愿疏离人们，自己坐着一个人吃饭，并不在乎别人的眼光。这个特立独行的女人像极了王小波笔下的那头猪。

　　芭芭拉保守着她的秘密，在林中和那边的男友相会，做爱，在宾馆里和男友幽会。当她打定注意要逃离这里，并坚信逃亡一定成功的时候，这边的一切对她而言都是陌生，她也没必要去熟悉这里的风景和热情的人们。

　　于是，那些和她有着类似命运的人们却成了她最好的朋友。芭芭拉并非冷若冰霜，她的同情总会化解她人的命运纠结。

　　芭芭拉会静静走到斯科特前面，紧紧抱住她的头，那种表情在说话“亲爱的斯科特，你的悲伤，我懂。”所以，斯科特逃离后会回来找芭芭拉，在其心中，芭芭拉就成了她的知音，也因此，所以在最后逃离的时刻，她把机会留给了斯科特。

　　对一片土地，要么逃亡，要么回归，这都是最好的选择。

　　关键是，那边是否有你值得追求的，这里是否有你应该期待和留恋的。

　　隐去政治因素。《芭芭拉》在我看来，更像是一部优柔绵长的爱情故事。

　　就如豆友所言，其实并不是为爱出走，“为爱停留”更为恰当。

　　安德鲁和芭芭拉的爱情，是故事隐藏的主线。他被她的孤独吸引，她的冷峻被他的热情打动。他找人为她修了钢琴，开车载她回家，给她讲述伦勃朗解剖名画，告诉她自己的曾经过往，骑自行车陪她下班回家。

　　最后，还给她做地三鲜，她忍不住在窗前亲吻了他。

　　这还不是爱情吗？

　　最后她没有离开，回到病房。

　　从此以后，她们该过着幸福的生活。

　　或者逃亡，或者回归。

　　爱情也好，生活也罢。

　　《芭芭拉》观后感(九)：爱情、自由与人性

　　看《芭芭拉》时，只知道这是一部德国的影片，并不知道它所叙述的是前东德时代的故事。不过，影片刚开始不久，我就很准确地判断出来这发生在原东德地区。并非我对德国很了解，其实我甚至连这个国家都未去过。我能猜出仅是因为影片中的那股气息，这种气息作为中国的观众太过于熟悉，一直陪伴了我们许多年。对，这种气息就是社会主义的味道，这种味道若非在这样国家生活过，是无法嗅出来的。

　　或许这样说显得相当武断，不过影片中的故事，影片中的城市，影片中的建筑，影片中的人物，甚至他们的说话方式，真的感觉离我们现实的生活非常的近。这样的故事只能发生于这样的国家，发生于这样的的体制之中。借用张爱玲女士的一句话，在这样的体制中，“仿佛天空都打着补丁”。

　　芭芭拉是个年轻的医生，从首都柏林被下放到罗斯托克附近，一个濒临波罗的海的东德小城。从影片的简短交代中，观众可以知道，芭芭拉是从监狱里刚放出来的，来到这个小城后还受着当地警察部门的管辖，他们经常毫无预兆地来到她家里搜查，甚至每次都叫女警让其脱光搜身。她住在警察们给她安排的公寓里，这种公寓上年纪的观众都会很熟悉，典型的苏式公寓，整个楼面肮脏而斑驳。更重要的是，她的邻居是个革命大妈，她与中国的居委会小脚大妈一样，随时在窥伺着她的生活。

　　芭芭拉是因为什么进的监狱，我们不清楚，她在影片中一直很沉默。不过我们却知道，在东德那样的社会里，她可能会以任何一种理由而进监狱。随着情节的推进，我们知道她有一个来自西德的男友，男友有时会来到这里悄悄与她幽会。从她的一系列言行可以看出，她与目前与处之地有些格格不入，属于这个体制所不喜欢的异己分子。她所身处的这个小城医院里，还有一个与她有着差不多经历的人，那就是影片中的男主角莱泽尔，他也曾经是本可进入首都的医生，但一次医疗事故，他也被下放到了这个小医院。这是一个很有职业荣誉感的医生，也很有自己的准则。然而，他却答应安全部门向他们定期报告有关情况。他也向往着出国，他的目标是海牙，伦勃朗的画作吸引着他。影片中还有一个关键人物，就是那个从青少年劳改营里逃出来的少女斯黛拉，她怀有身孕，不想让自己的孩子降生在这个该死的国家，因此也是竭力地想逃出去。

　　三个主要的人物相聚于这座小城的小医院里，每个人都如同当地的环境一样，有着让人压抑而灰暗的经历，与着周边的人群有着一种间离。是命运将他们抛离到这个小地方，这个小医院里。然而他们都共同抱持着一种希望，希望离开这个国家，去寻求自己的幸福。这一点颇具反讽的意味。在这样体制的国家中，总是描述着自己的幸福生活像天堂，总是强调着人们的爱国主义热情。然而，在这样的天堂之中，现实中的灰暗取代着梦幻中的玫瑰色，人人都在想着尽快地离开这里。这也是一种浓烈的社会主义味道，这股味道在每个标明自己是社会主义国家中都能嗅到。

　　芭芭拉与莱泽尔都有高超的医术，也有悲天悯人的仁者之心。莱泽尔对芭芭拉有着好感，甚至可以说是一种爱慕之情，芭芭拉因为想着尽快与男友见面，对于莱泽尔的爱先是抗拒，然后是游离与彷徨。一边是相恋多时的男友，还有即将来临的自由，但相见恨少；而另一边则天天相伴，有着共同的职业与兴趣，但选择他即意味着放弃自由。斯特拉似乎更像是从前的芭芭拉，芭芭拉从她的身上看到了自己的悲惨人生，因此对她的同情倍增，而斯特拉也感觉到芭芭拉对她的善意，对其产生一种信赖甚至是依赖。她也是芭芭拉向东还是向西的一个重要砝码，借助她芭芭拉完成了自己对于爱情的选择，同时达到了一种道德的圆满。

　　从电影中我们可以看出，芭芭拉对于男友的爱情，应该是比较坚定的。他们冒着风险在树林之中甜蜜地幽会，他们心照不宣地秘密谋划着俩人的未来。这个时候，从男友那里，芭芭拉既享有爱情的甜蜜，也维系着她对自由的希望。确实，在这样的体制中，要想离开这样的国家，与外国人的婚姻是最好的渠道，东德如是，中国亦如是。从片中我们也可看到，芭芭拉男友的朋友也在东德找了一个女朋友，而她对于西德男友的爱，更是建立在物质及出国的基础之上的。不过，芭芭拉对于与男友爱情的反思，也正来自于这个女孩。芭芭拉是一个有着道德洁癖的人，与她在酒店里的偶然相遇，或许让芭芭拉反省到，原来自己也是一个物质主义的女人，只是为了能够到西德能够过上更好生活，才爱上自己的男友。她对男友的爱应该在那个时候，开始犹豫了。去到西德，他的男友是个商人，他告诉她已经赚够了钱，能够养得起她，不需要她出去工作。但芭芭拉显然对她的职业，有着高度的荣誉感。像个金丝鸟一样呆在家里，恐怕并非她所愿。莱泽尔的追求，让她的内心也起了冲突。而斯特拉的逃跑，让芭芭拉的天平开始倾斜。

　　莱泽尔在默默之中展开了自己的爱情之旅，并逐渐对芭芭拉形成了一种巨大的拉动力。他与芭芭拉朝夕相处，可以在细微之处表现出对于芭芭拉的关心与爱意。他与芭芭拉同为医生，同为在社会主义制度下有着过错甚至罪过的医生，他们的命运有着相似之处。同时，他们都有着很好的医术，也有着职业的道德感，这不免让他们在那种灰暗的环境下惺惺相惜，甚而相互依偎取暖。而这是芭芭拉的男友永远无法拥有的。他们都想着离开这个国家，去到一个自由之地。不过，芭芭拉是想借助男友之力，偷渡出去西德；而莱泽尔则想凭己之力，去到海牙。他给芭芭拉讲述他实验室里那幅伦勃朗的画《杜普教授的解剖课》，借此向她展现着自己的内心，同时也提醒着芭芭拉不要自怨自怜，而要更多地关注“受害者”。这幅画的解释，无疑在芭芭拉心中留下爱的种子。而他借送给芭芭拉一本书，通过叙述书中的故事，则明白无误地向芭芭拉表达了爱情。最后，芭芭拉放弃了相处已久的男友，也放弃了逃出东德的机会，回到了医院，回到了莱泽尔医生的身边。是莱泽尔的爱情战胜了芭芭拉对于自由的追寻吗？

　　电影中的那个东德秘密警察克劳斯，也是一个很有社会主义味道的人物。他的脸冷静而阴沉，目光坚定而凶狠，确是一张典型的秘密警察之脸。他对于他的职业相当的尽责，对芭芭拉这样的刑释分子，目光中自然是充满了不信任。他怀疑着一切，毫不犹豫地粗暴地干涉着芭芭拉的生活。不过，他在影片中却又是一个悲伤的丈夫，她的妻子患了癌症，忍受着巨大的痛苦，在等待着死亡。他担忧着妻子的健康，为了减缓妻子的痛苦，又叫来莱泽尔医生给她注射吗啡。他那时的表情，他的所做所为，就是一个普通人，完全没有了体制内官员的面孔。在观众眼里，他无疑是个坏蛋，但他的坏并非出于他本人的道德，他只不过在履行着他的职责。就如在他的眼里，芭芭拉是个坏人一样，而观众却异常清楚芭芭拉是个怎样的人。在这里，好与坏并非如人们正常情况下所理解的那样。克洛斯的恶，其实就是制度之恶。

　　芭芭拉让斯特拉顶替自己坐上摩托艇，逃出了东德，她则选择了留下。也许，是她认为斯特拉更需要逃亡，毕竟她已经从劳改营中多次出逃了，回去肯定是死路一条，更何况她已经怀孕，梦想着让腹中的孩子享受着自由。也许，是莱泽尔的爱情让她留念，相比她以前的男友，莱维泽可能更为现实，她对他的爱也更纯粹一些，他们毕竟志同道合。在电影中，芭芭拉以她的勇气，放弃了自由，闪现了其人性的光辉，成就了其人格的伟大，也将收获甜蜜的爱情。

　　不过，不知她是否已经想好，如何去面对未来的生活？那不是瞬间的勇气就可克服的，而是需要漫长的一生来度过的。她与莱泽尔的过去，已经让他们成为这个体制的异己者，身上已经打上了烙印，无法融入这个体制了。而他们则要在灰暗而让人窒息的社会中生活下去，还得不断地应付着像克劳斯这样的秘密警察的纠缠，随时面临着人的尊严受到羞辱人的生命受到威胁，那会是一个痛苦而漫长的人生。我们知道，这个体制直到一九九零年，随着柏林墙的倒塌而结束。芭芭拉想好了吗？

　　在这里，自由更像一条平坦之路，而爱情则充满了荆棘。

　　《芭芭拉》观后感(十)：这或许就是爱情

　　一个女子在逃跑未遂后，受到严密监视，甚至是羞辱后，明明有一个绝佳的机会再次逃走，可是她放弃了，当然理由很多，爱情，帮助别人的热心肠。我觉得很震撼得是，有时候当你失败，并且被一次次阻挠后，其实你的逆反心理会得到强化，反而会一个劲的朝那个方向发展，可是barbara最后还是放弃了，回过头来看，其实她只要不要再逃跑，那么那些监视苦恼自然也就没有了，可是还有多少人在那样的条件下，会想到摆脱现状的不仅仅只有离开一条路呢。不过有人会说是因为她和医生产生了感情，是的有时候爱情真的可以回答很多问题。可是黎明，海滩上，等待救援的时候，barbara一边哭着一边写信，却真真切切地感受到了她的挣扎。

　　从影片的开始，barbara从公车上下来，医生在窗台上看她坐在长椅上抽烟，就明白，这两个人终要产生感情。爱，有时只要一眼就够了。只是两个人对爱的表达方式不一样，barbara的方式就是抗拒。从知道barbara在筹划逃到西德，便知道终究是去不了的，只是在等待导演安排一个绝好的理由，看到那个女孩的出现，她跟barbara说，你想想办法，我不想再回集中营。我就知道，这个理由出现了。终于女孩逃了出来，barbara也准备好了东西，所以她把机会给了女孩。

　　最后看到她赤脚在海滩上，天空才微微有亮光，想起她对医生说，我一向很讨厌海滩。