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《红字》的观后感10篇

2018-01-17 20:25:02 来源:文章吧 阅读:载入中…

《红字》的观后感10篇

  《红字》是一部由罗兰·约菲执导,黛米·摩尔 / 加里·奥德曼 / 罗伯特·杜瓦尔主演的一部剧情 / 爱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

  《红字》观后感(一):当爱情遇上传奇色彩

  这部电影是原著的改编版,结局比原著好太多,使得看客也多满足了几分,个人而言如果这样一种环境发展下来的故事又变为了悲剧,那实在没有看下去的勇气,毕竟生活是为了愉悦自己,还是喜欢一些具有正能量幸福感的片子。

  刚开始发展得比较慢,可能是因为我被剧透了的原因,所以前部分看得有点急躁,但故事发展到了后半部分,情感纠葛和情节曲折还是十分引人入胜,看得胆战心惊不敢放过任何一幕,英文版字幕虽然有些词生涩难懂,但有一些英语诗歌常识的人应该不会觉得理解意思困难。喜欢剧中的男主角尊重爱的人又不缺乏勇气,相比起来原著中就没有如此完美了,这部电影如此让我喜欢还有一个原因是里面不缺乏善良的人儿,被认为是巫师的邻居一家增添了不少温情的色彩,还有萌萌哒的女儿让人不禁心生喜爱。

  片子中景色的选取也很美好浪漫自然原始,总归是一部成功的电影。

  《红字》观后感(二):Love Is Colder Than Death

  All the encounters are reunions after a long separation in the world. I guess, Hester and Arthur must have seen much affliction before they meet each other. Their love sprouts like the seed of evil, and bursts into bloom.

  Red roses in prison, which offer the fragrance and fragile beauty to the dying prisoners, have already predicted a vivid metaphor at the beginning. Love is beautiful, like rose; yet love is cold and painful, like its thorn.

  I don’t understand the treatise on Good and Evil in transcendentalism of Emerson, I don’t understand the concept of salvation in the Bible, more don’t understand the puritan tradition in the United States. The scarlet letter, for me, is not only a piece of love history, but also a confession related to the original sin. With the fall of Adam and Eve, human beings are originally sinful. The Bible tells us love covers over all wrongs. Moreover, the innocent is not the one to blame. A kind-hearted and honest couple, once trapped in the puzzle of extramarital affair, they are destined to walk into a dilemma——since the flame of love and the perfection of morality mostly can’t live together. As in Paradise Lost, the hero and heroine choose to suicide in their blissful love.

  There are no ugly loves, nor handsome prisons. For Arthur, Hester is undoubtedly beauteous in looks, and seductive in personality. For Hester, when Arthur says I love you affectionately to her, she can feel the love that he bears patiently in this man’s eyes and hands, even silence. In their seven years, determination, hypocrisy, and self-deception are all human nature; in their whole life, long waiting, sense of guilt, and endurance for the contempt are all atonement. In my eyes, Hester veritably has the right to say love although her purity and courage deviate from morality and ethics. Love is colder than death——their love is holy but miserable, like the sacrificial offerings on the altar.

  The bible says that love can bear all things, hope all things, and endure all things. Miss Hester keeps silence for their forbidden love for seven years, while Mr. Arthur pays for this piece of virtueless love at the cost of his life. Who dares to say that the affection between Hester and Arthur is not true love? Common customs tear their bodies apart, but their souls will stay together forever. They feel each other in their stomachs, and they enjoy the ecstasy of sex. Who dares to say that sex doesn’t mean love? There is no doubt that Pearl is the crystal of their love.

  Love is a kind of curse, and love is a lonely carnival. The Scarlet Letter not merely tells the process of romantic love, it tells the ending of love——more accurately the consequence of love that knocks on everyone’s soul. When Arthur falls down on the scaffold due to the heavy burden in mind, when Hester’s ashes are buried beside Arthur after many years, have they ever regretted for the things they had done, including love and the confession of love? Love is colder than death——Hester and Arthur break the curse——chains of morality, and the sublimation of their love burns all the people’s eyes.

  With a bloody letter A on his naked chest, Arthur died in Hester’s arms——he is finally released. However, his deep love for Hester will never disappear. The moment when Arthur eventually stands in front of the multitude and shouts loudly I LOVE THIS WOMAN, we witness a scene of extraordinary love, and the shameful letter A is endowed with new meaning.

  Every character in the book is adorned with a letter A. Hester and Arthur are the undertakers of A. Those righteous people in New England who propose to punish Hester with A——they are the makers of A. And those crowds of onlookers are witnesses of A. Hester’s husband is a dirty dog——he is the enquirer of A. Little Pearl is compared to the fruit of sin, and she is the savior of A. I think the scarlet letter A can be considered as Adultery, Able, Admirable, Amour, Angel, Advance, and even America.

  In the end, Hawthorne writes, On a field, sable, the letter A, gules. I seem to see a woman kneel on the wasteland, in front of her there is a tomb. The woman is so devout that she looks like a statue of a nun. She firmly believes that there will be a new era some day, a bright and heavenly era.

  Love is colder than death. Hester and Arthur, have already lost their names, bodies and souls.

  ow, maybe I should go to read Moby Dick by Melville. That’s for Hawthorne.

  《红字》观后感(三):名句

  entence:—‘Be true! Be true! Be true! Show freely to the world, if not your worst, yet some trait whereby the worst may be inferred!’

  It is a curious subject of observation and inquiry, whether hatred and love be not the same thing at bottom. Each, in its utmost development, supposes a high degree of intimacy and heart-knowledge; each renders one individual dependent for the food of his affections and spiritual fife upon another: each leaves the passionate lover, or the no less passionate hater, forlorn and desolate by the withdrawal of his subject.

  《红字》观后感(四):crap

  1.美丽是女人的负担,思想更是女人的负担,无思想就无反抗,就无杯具,古语有云女子无才便是德,甚是哉。。女人们,还是安安分分做个主妇吧,平淡度日,没有什么不好。

  2.女人一旦陷入爱情,就会像母鸡一样保护自己的另一半,为此身陷囹圄,付出生命也在所不惜。太傻

  3.每个女人都有春梦,就算低如不会说话的印度奴隶。

  4.男同胞其实是害怕太坚强的女人的。阿瑟说:“你太勇敢,我害怕。”

  5.有良心也是负担,若为坏人,阿瑟就不会痛苦,但也正是因为其善良,波尔她娘才肯舍命保护她,爱他敬他。矛盾。

  6.复仇不是解决问题的办法,只有宽容,忘记,人生才会有出口。憎恨只会束缚自己,毁了自己。

  7.爱情这东西,是宿命,来了就来了,挡不住,压不下,毫无办法。

  《红字》观后感(五):伪善与真美

  海丝特·白兰因犯了通奸罪受到加尔文教派权力机构的惩罚, 胸前佩戴着标志通奸的红色“A”字站在古老的枷刑台上示众。她的手中抱着这个罪孽的证据:一个出生仅数月的婴儿。在人们无情的注视下,她拒绝了年轻牧师阿瑟·丁梅斯代尔提出的忏悔并供出同犯的要求。受过惩罚后,海丝特在城外远离人群的一间小茅屋里住了下来。她以作针线活维生,并细心地照料着她的女儿——珠儿。这时,海斯特的丈夫来到了美国。他满怀仇恨地改名为罗杰·奇林沃思,以医生的身份暗中察访与海丝特通奸的同犯。很快七年过去了。珠儿已成长为一个美丽可爱的小姑娘。而海丝特因为不断热心接济和帮助别人,最终赢得了人们的尊敬,使胸前那本来代表耻辱的红字变成了美好善良德行的象征。 而经过多年的窥探, 罗杰也认定了“道德伟大”的丁梅斯代尔牧师就是那个隐藏的同犯。于是他千方百计地接近牧师, 旁敲侧击,冷嘲热讽,不停地在精神上对牧师进行折磨。海丝特为了使丁梅斯代尔逃离丈夫的阴影,决心带着女儿和他一起逃走,但却被罗杰发现,计划失败了。而对罗杰的恐惧和自己隐瞒罪责的煎熬使丁梅斯代尔的健康每况愈下。终于在离开尘世前夕,他在全体教众的面前,他挽着海丝特和他们的女儿珠儿登上了枷刑台,用以生命为代价的深切忏悔换取了道德上的新生。 《红字》,世界文学名著,美国作家霍桑极富争议的作品,曾被屡次搬上银幕,本文所介绍的版本,是1995年罗兰·约菲导演的《红字》。影片本名《The Scarlet Letter》,又译《真爱一生》或《红色禁恋》,故事讲述了一个凄美动人的婚外情故事。丈夫的失踪,造成一个女人与牧师的相爱。肚子的隆起,暴露了女人的奸情,她为自己的“罪孽”遭受囚禁,然而她拒绝说出情夫的名字。婴儿的降生,成了她罪恶的“铁证”,她的胸前被戴上象征不贞洁和耻辱的红色标志“A”。然而,女人独自带着孩子的种种善举,改变着人们对她的认识,也改变着红色标志“A”的本意。丈夫的归来,却打破了这种局面,他查出了妻子的奸夫,开始疯狂报复。故事结果,纷争平息,牧师最终站出,携女人和他们的孩子,离开了居住地。《红字》,一个令人回味无穷的、名片演绎名著的经典故事。

  《红字》观后感(六):The missing imprint of puritanism

  Retelling a novel in a film adaption can be challenging. One needs to consider casting, as well as the context and setting of the story and more. Most important, the main theme should be faithfully represented. Nathaniel Hawthorne’s novel The scarlet letter (1850) and Roland Joffe’s film (1995) of the same title have certain things in common: both feature the hardened life of Hester Prynne, who commits adultery in Puritan Boston in the mid-seventeenth century. However, the differences between the novel and the film are so prominent that the film can be a problematic retelling. The novel reveals the tragic lives of the characters – Hester and Pearl Prynne, Arthur Dimmesdale and Roger Chillingworth – as the inevitable result of the narrow and relentless Puritan society in the mid-seventeenth century. The film, in contrast, gives its leading roles unrestricted liberty, both physically and spiritually, rather than being subjected to the Puritan morality in the original story. This mismatch between the traits of main characters and their setting in the Puritan town compromises the integrity of the story.

  Joffe presents The Scarlet Letter as an overtly sensual retelling of the novel. The alterations he made in both the plot of the story and the nature of its leading characters are a total distortion of the novel. The film portrays Hester Prynne, starred by Demi Moore, who leaves her husband in Europe and comes to live in puritan Boston in the mid-seventeenth century. Her unconventional behavior and opinions draw attention from the repressed Puritans in town. She then meets the passionate young minister Arthur Dimmesdale, starred by Gary Oldman, whose sermons deeply touch her. The minister is also attracted by her charm and they soon secretly fall in love. After receiving the news that Virginian Indians have killed Hester’s husband, she gets pregnant, bearing the minister’s child. She is nonetheless accused of adultery even if it is not known whether her husband is alive then. In order to protect the respectable minister, she refuses to tell the name of the father and is condemned to wear the scarlet letter A as a badge of ignominy. She is not repentant and continues to challenge the principles of the Puritan society openly. Meanwhile, Dimmesdale also suffers great pain from his secrete guilt. Hester’s husband then appears in town and becomes a killer to take vicious revenge on Dimmesdale. With the help of Indians, Hester and Dimmesdale leave the town finally and enjoy a happy ending.

  Hawthorne’s novel, The Scarlet Letter, allows Hester Prynne to have a freedom of mind, undisciplined by the prejudice and principle of the society. “The world’s law was no law for her mind”. However, she keeps her “freedom of speculation” all within herself. She does not want to irritate the authorities and lose the right to raise her Pearl. Conversely, Joffé apparently attempts to give Demi Moore complete freedom of mind and speech that seem totally unrealistic for a woman in the given setting and time. He glorifies the character of Hester Prynne by making her unbelievably strong, out-spoken and full of righteous justice. He portrays her as a rather wealthy heroine who buys indentured labor to farm the land instead of doing needlework. He even allegorizes Hester as a feminist by making her to confront the male dominated authorities several times in the film. When Demi Moore is accused of heresy because of disregarding “the law of men,” she questions the magistrates that “If the discourse of woman is ‘untutored chattering,’ then why does the Bible tell us that women shall be the teachers of women?” It seems rather bizarre her argument is beyond the magistrates’s power of refutation. More peculiar, Joffe describes her as a true friend to Mistress Hibbins, standing up for her when she is suspected to be a witch at the judicial hearing. Hester says bravely that “Mistress Hibbins is no witch. And she committed no crime beyond speaking her mind.” This overt battle with the public contradicts entirely with the image of Hester in the book as she “interferes neither with public nor individual interests and convenience” (209). Instead of showing Hester as a female character in a setting parallel to Hawthornes’s depiction of Puritan town in 1642, Joffe makes her too avant-garde and aggressive for her period of time.

  Joffe misinterprets Hester’s morality under the Puritan setting by making noticeable change to her sense of sin in the film version. In the novel, Hester firmly believes she has sinned by the liaison with the minister though she never regrets their sincere love. She, therefore, throughout the book, does penance by living an ascetic life in an abandoned cottage at the outskirt of Boston. She is totally deprived of social interactions, with no friends and seeking none; she makes a living doing needlework and raises Pearl alone; she even gives out charity to the even more miserable beings. By doing so, she hopes that atonement can be made for “a union that is unrecognized on earth”. Hawthorne portrays her anguished by the public bitterness and conscious of the shame brought by the scarlet letter, but remains uncomplaining. In the film, however, Hester has no contrition or guilt nor does she think she has sinned at all. Right after Demi Moore is imprisoned because of adultery, she questions Dimmesdale that “Do you believe we’ve sinned? What happened between us has a consecration of its own!” Later in the scaffold scene, she challenges the Governor again on her understanding of sin: “I believe I have sinned in your eyes, but who is to know that God shares your views.” Whereas Hawthorne portrays Hester as a victim of Puritanism principles by presenting her sufferings and defenselessness to the notion of sin, Joffe makes her more like a victor over the “law of men.” Due to the absent conscious of sin in Demi Moore, Joffe is unable to bring to light the transfiguring and ascendant effects taken place in Hester in the novel, which is driven by her sense of sin. Therefore, he fails to underscore her transformation as Hawthorne does, which results from the inhuman nature of Puritan society – the main issue that Hawthorne criticizes.

  As Hester’s guilt-wracked lover, Arthur Dimmesdale, is not only too powerful a character in the film, but he has too much flexibility in expressing his love. In the movie, he does not reveal bravely to be the child’s father only because Hester pleads with him. However, “everything in [his] nature cries out for it.” Joffe’s Dimmesdale no longer has the nature of cowardice and hypocrisy, but is almost as brave and honest as Hester is. He even defends her innocence as he accuses her confinement as “an abomination.” Joffe manages to set up excessive interviews between Dimmesdale and Hester, only to demonstrate that he has true love for her and desperately wants to help her out by risking himself. Even more at the end of the movie, when Hester is about to be executed for witchcraft, Dimmesdale confesses his love and secret to the public: “I love this woman. I am the father of her child. And in God’s eyes, I am her husband.” He then puts the string on his own neck, wiling to die for Hester. By openly challenging the rules of the town, Joffe’s Dimmesdale seems to have a negative view on Puritanism as well. Joffe reverses the role of Dimmesdale to an emotive and courageous man who has a voice for his love and a respect for human nature. This revision is problematic because such qualities are deprived in this repressed “Puritan divine” as decribed in the novel, whose puritanical morality is so deep-rooted.

  Joffe overly emphasizes the emotional appeals to the audience by producing a Hollywoodized happy-ending. In the novel, Hawthorne creates a single powerful climax: all the other human voices and music subdue, left with only the majestic voice of Dimmesdale’s confession and the revelation of the scarlet letter on his breast. At this point, Hawthorne pushes all the tension and suppressed emotions – anguish, sin and repentance – to an extreme that they can bear no more but to be released into the final lyric paragraphs. The peaceful dialogue between Hester and Dimmesdale before his death serves as a powerful form of salvation for the previous vehement narrative as well as the burdened tragic lives of Hester and Dimmesdale. Joffe, however, creates different tension points in his ending. He depicts Hester, as a champion of justice, asks to be hanged together with Mistress Hibbins; then Dimmisdale heroically declares his love for Hester and is willing to dye for her; finally and most absurd, a rebellion by the Indians saves them all, turning the film into an action movie. Joffe introduces digression to release the main tension in the story. Though the ending that Hester and Dimmesdale live happily afterwards might be more comfortable for the audience, it is much less powerful than the one in the novel.

  Joffe portrays both Hester and Dimmesdale as the brave and passionate warriors against the Puritan society’s inhumanity, rather than being victims. Of course, it is good that Joffe believes that Hester and Dimmesdale eventually triumph over the repressed Puritan doctrines, but by giving them much more undisciplined freedom in their nature than Hawthorne does, he seems to deny the fact that they are ever repressed or affected by Puritanism. Assuming that both Hester and Dimmesdale have emancipated spirits almost equivalent to modern-day people, Joffe manages to cross out the imprint left on them by Puritanism in the mid-seventeenth century in Puritan Boston. By depriving those characters of the tragic consequences from the Puritan principles, he undermines the intention of Hawthorne in reforming Puritanism in the novel.

  《红字》观后感(七):乱七八糟,什么玩意儿啊,不靠谱啊不靠谱!!!

  本来冲着“红字”的标题、Gary Oldman还有海报去看的片子。。。

  没想到看得不知所云!!!

  136分钟的片子,看完了发现,两个多小时再也回不来了!!!

  把原著改得乱七八糟,人物简直是顶着原著名号的冒充者罢了。。。

  以Demi Moore的声音怎么适合演女主???

  说着说着就像缠带卡壳了,让人听着浑身难受!!!

  而且,原著中女主那隐忍、逆顺的外表哪去了???

  被Demi演成了一个拓荒欲望极强的女权主义者!!!

  更夸张的是:Demi在片子里面强壮地像个汉子!!!

  有没有搞错???

  Gary Oldman也把原著中闷骚的男主演成了明骚的愤青!!!

  还有Gary湖中洗澡露PPJJ的场景太扯淡了点吧???

  男主一个美洲殖民地拓荒期的牧师,遮还来不及,怎么可能经常跑去人家后院裸泳呢???

  再说红鸟勾引女主、女奴偷窥女主洗澡、长发男试图强奸女主、长发男被女主老公暗杀、女主老公自杀的桥段,乱七八糟哪里来的啊???

  这不是美剧好不好!!!

  至于Pearl,和个道具差不多。。。

  完全没有原著中小女孩的灵气和妖质!!!

  还有片子的画外音,一直听得我蛋疼!!!

  亏了我是个男生,可以很精确运用“蛋疼”这个词来形容自己当时的感受。。。

  总之,不靠谱啊不靠谱!!!!!!!

  《红字》观后感(八):信念

  整整下午,那个挥之不去的红色“A”字在眼前萦绕!

  眼前对于“红字”的迷惑,远远不及内心对此故事的揪起!

  《红色禁恋》一部改编于19世纪美国影响力最大的浪漫主义小说家和心理小说家霍桑最具代表性的长篇小说《红字》!

  早前看过这部小说,但距今久远,记忆模糊。读《红字》的时候,我应该还是一个懵懂,不经世事的孩子,对于小说中所提到的历史背景,人物复杂的内心刻画,宗教对于人性的摧残……应该不会有所理解!只知道那是一部描写爱情的名著,只知道有揪心的酸楚,痛心疾首,悲剧的结尾,我用拭泪做以对文字的宣泄,以此来证明自己已经读懂了,已经融入到故事当中,这便是我当时对这部小说的认知,感知!

  看过电影《红色禁恋》后,那些对于原著磨灭的记忆碎片,残缺不全的在我的大脑里拼凑起来,如同进行着:文字对电影画面的一种拼图游戏!只有那个红色的,醒目的,大大的,漂亮的,代表着“通奸(Adultery)”一词的“A”字,让我迟迟的不知所云的想要安放何处?如果我是剧中人,如果我是黛米·摩尔,如果我是海丝特·白兰,如果我不是撒旦所创造的魔鬼,如果我是上帝所创造的人……我会毫不犹豫的将它佩戴在心脏之处!那是信念的一种标志!当我们无法摆脱疾病,贫穷,富有所带给我们的困扰和痛苦时,我们凭借的不是智慧所带来的力量,而是信念的指引。它将带领我们冲破一切笼罩在我们身体周围的咒语,巫术,邪念,罪恶……

  小说原著对于人物的灵魂一直存有“因袭原罪,宿命论,地狱,一旦进入人的生命,便没有办法躲避了”这一略带忧郁,略显凄凉的味道。从而使海丝特·白兰的外表显得娇小柔弱些。而电影中女主人公的扮演者黛米·摩尔的外形较原著略显强悍!但她们同样有着坚定的眼神,刚毅的嘴角,高傲的下巴,不屈的脖颈……

  也许,这只是源于小说作者和电影导演所处的历史时期不同,对于故事的理解也就大相径庭,这便是人类的进步,人性的解放,灵魂的归属,人权的提升吧!由于作者霍桑所处的历史年代,使得他认为爱情是伟大的,是上帝赐予的,纯洁得不可侵犯的,但同时又认为通奸是有罪的,是受人谴责的,遭人蔑视的,这便是教皇统治时期,爱情和教义两者不共戴天,永远存有一条无法用人性和纯净来添平的泥潭。勇于挑战爱情,追求爱情的海丝特·白兰便深陷其泥潭之中!而电影导演所处的时代背景,将爱情放在了人性的第一位,使得海丝特赋予了一种坚定,不可动摇,对爱情忠贞不渝的信念。虽然被统治者认定为有罪,但清白,纯洁,善良,佩戴着醒目红色“A"字的她,宛如清教徒里的一朵奇葩,异常绽放,用爱情引领着一股来势汹汹,势不可挡的光明,使她对爱情的坚定信念不断上升!这便是小说中海丝特的迷茫;电影中海丝特的坚定对于读者和观众所带来的差异吧!

  因为爱而爱的是神,因为被爱而爱的是人!

  人类的痛苦便是不能很好的将自己的灵魂安放在所扮演的角色中!善良的人总是在人与神之间徘徊,游离,踌躇,彷徨……

  爱情是一种信仰,是一种宗教,虽不能静心朝拜,但至少应该相信它。浪漫不等同于爱情,但它可以让爱情升华,它是一种味道和感觉!

  只有对爱情达到偏执狂地步的人,信念才会在她的心里扎根!

  海丝特的信念,也许源于病态的偏执狂,偏执的将浪漫融进爱情!执着的将爱情进行到底!

  另附:

  我有些偏执狂;我喜欢偏执狂人!

  英特尔公司创始人,前任总裁和CEO安迪·格鲁夫说过一句著名的话:只有偏执狂才能生存。这句话以及1996年出版的他那本著名的同名自传,10年来令国内外商界人士无限欣赏。

  衔接:

  什么是偏执狂?

  偏执狂是一种罕见的精神病,以缓慢发展的系统而牢固的妄想为临床特征,病程长,预后不良。

  偏执狂病因不明,与下列因素有一定关系:①遗传倾向;②具有特殊的个性缺陷,表现为主观、固执、敏感多疑、易激动、自尊心强、自我中心、自命不凡、自我评价过高、好幻想等;③精神因素诱发。

  偏执狂的发生机理,按巴甫洛夫的意见,偏执狂是强而不可遏制型的人所发生的,这类人的神经系统具有抑制过程不足,兴奋过程占优势的特点。当他们受到挫折时,神经系统的兴奋过程便过度紧张,在大脑皮质形成了病理性惰性兴奋灶,这个“孤立性病灶” 与异常牢固的情感体验和意图有关,并且由于它的兴奋性异常强烈,通过负诱导机理在其周围出现广泛的抑制,阻滞了大脑皮质其他部分对它的影响,因而患者对自己的状态缺乏控制。

  偏执狂的临床表现开始以被害妄想为主,以后可出现夸大妄想,这两种妄想可以彼此影响互为因果。病人常感到自命不凡、才华出众、精力充沛,逐渐发展到自己是“发明家”、 “音乐家”、“预言家”等,因此别人会产生嫉妒心理而对其进行迫害。

  偏执狂的人格一般是完整的,无衰退情况,如果病人隐瞒妄想内容,则与正常人无差异,本病始终不会出现幻觉。

  偏执狂有独特的临床特征,诊断并不困难,但须与偏执型精神分裂症、偏执状态和偏执型病态人格相鉴别。

  关于偏执狂的治疗,目前尚无有效的治疗方法,当病人出现冲动兴奋症状时可予对症处理。本病可长年不愈,到了晚年,妄想观念可随体弱年迈逐渐平静,但病人至始至终不会出现衰退。

  《红字》观后感(九):男主角帅,女主角漂亮

  战争年代女主丈夫被杀,女主和牧师在一起,女主丈夫起死回生回来发现自己的老婆和别的男人通奸,并且生了一个孩子。记恨在心,想方设法站在道德的制高点报复。让我想起了《卡萨布兰卡》里的瑞克,维克多和伊尔莎。伊尔莎的丈夫维克多被传死在战场,伊尔莎在丈夫尸骨未寒的时候和瑞克谈恋爱。当他们商量好一起离开巴黎的时候。伊尔莎丈夫回来了,她又回到了丈夫身边而放了瑞克鸽子。后来他们在瑞克的酒吧重逢了。因为两张过境票,把三个人牵扯到一起。

  维克多了解到瑞克和妻子的关系,打算把妻子让给瑞克,让他带她离开。而最后瑞克把维多和他老婆送走了。

  我一度以为外国人对女人都是这么宽容的,看了《红字》发现男人对女人心胸狭窄。或许因为法国是浪漫之都的原因吧。

  人言可畏,白因度太太带着红字,有人专门跟着他,只要走到公众场合,都会敲鼓。周围人看到都会带着鄙视的眼光,诅咒的深情。她开始怀疑自己的选择对不对?

  牧师知道白因度太太的丈夫跟着自己,他找到白因度太太抱着白她和珠儿的时候,很感动。

  外国人的名字真难记,看过就忘记主角叫什么名字了。

  《红字》观后感(十):我坚信人类会因为文明而永恒。

  “我很敬重和爱这个孩子的父亲,而我不可能也不能说出任何给他带来伤害的话。”

  向这样的女人致敬。

  所有的宗教禁忌都是人们凭空想象出来的,有宗教信仰不代表就有崇高信仰,有一时的信仰不代表能坚守一生。真正的崇高信仰是严于律己、宽于律人。

  所有的信仰之争、主义之争都是权力之争和利益之争。只有为人类和广大人民的终极幸福而追求的才是值得称道的。

  人类从最初原始社会的夭折、饥饿、寒冷、病痛、乱伦到现代社会的长寿、美食、温暖、舒适、爱情,每经历过一次王朝的更替和帝国的消逝和民众的觉醒、民主和独立,人类的文明都在螺旋式的上升。

  我坚信人类会因为文明而永恒。

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