匿名使用者 1級 2007-02-17 回答

初三水平的孩子讀起上邊那個可能較有困難，還是來這個吧！！

Known previously as a documentary， and not as a romance， “Sanxia Haoren” （“Still Life”） was the surprise film in Venice （Italy） and not first one film of the young maker （he already had another movie in competition）。 Mr Jia shows us China as it is nowadays。 Not the power of huge works， or the beautiful scenery， just as the Dam on the Yangsi River nearby， but simple Chinese people， with simple problems， that do not know nothing such happiness （yet）。 It‘s heartbreaking， it’s wonderfully filmed， it‘s like a superb painting。 A simple masterpiece （and not only a Golden Lion）。 The surprise at Venice’s Mostra。 Catherine Deneuve， the French president of the jury of Venice， was very moved by Jia‘s work， the story told and the emotion of that film。

匿名使用者 1級 2007-02-17 回答

建議你在百度裡直接搜“三峽好人 影評”，你就會明白很多你不明白的問題，這是一部很有內涵的電影。

匿名使用者 1級 2007-02-17 回答

Three Gorges Good People and the magic of perseverance， 18 September 2006

Author： saareman from Toronto， Canada

Reviewed at the North American premiere screening Tues。 Sept。 12， 2006 at the Varsity 8 Theatre during the Toronto International Film Festival （TIFF）。

I was lucky enough to be at TIFF screenings on Monday when it was announced that Sanxia Haoren was going to have a special one-time screening as a last minute addition to the Visions programme of TIFF 2006。 I think the online tickets went fairly quickly and the theatre was packed with a considerable overflow of film writers & critics who had been unable to squeeze into the industry screening。

Sanxia Haoren has been given the title Still Life for international release， but the original Chinese title would seem to translate simply as Three Gorges Good People and it is in the vicinity of the dam’s construction and the city demolitions and the people displacement entailed by it， that the film takes place。 The film has a bookend plot of a miner Han Sanming （character‘s and actor’s names are identical） who comes to the town of Fengjie to search for his estranged wife and child。 The centrepiece story is that of a nurse named Shen Hong who is searching for her missing husband。

The dour faced Han Sanming is initially a cause of concern as it seems at the very start he is going to be swindled by tricksters on the river ferry but he soon shows that he can hold his own。 We then think he is going to conned by a sarcastic motorcycle taxi driver who takes him to the location of his supposed house only for him to find it is now submerged under water。 Things soon settle down for Han though as he finds lodging in a boarding house and work as a house demolition man on a crew with a brash young man who seems to have learned all his life lessons from the movies of Chow Yun Fat。 Various humorous interludes （such as a young boy who sneaks cigarettes and roams around singing overly romantic songs which usually degenerate into an off-key screech by their end） and certain magic sequences （which I won‘t spoil） serve to bring comedy and wonder along the way。 Several times the screen is seemingly chapter titled with the words “cigarette”， “liquor”， “tea” and “toffee”， when these items occur during the plot， and any other meaning to this device eluded me。 The journey of Shen Hong is similarly full of encounters with different characters on the way。 I don’t think the two stories actually intersected， but I may have been somewhat tired at this mid-way mark of TIFF as this screening went from 10：30 pm to 12：30 am。

The impression that the actors were perhaps simply playing versions of themselves was reinforced later in the week when I also caught the same director‘s documentary “Dong” which follows painter Liu Xiao-dong around locations at the Three Gorges Dam and it turned out that Han Sanming was actually one of the sturdy workmen that painter Liu was using for his models in a large multi-paneled painting of men。 A blond-dye haired motorcycle taxi driver of Still Life makes a cameo appearance in Dong as well。

I found both of these films equally absorbing as they told stories of regular people in somewhat extreme life-changing situations and also that the 2 films complemented each other in a symbiotic way。 Seeing one will enhance your appreciation of the other and vice versa。 Both films are very deliberately paced but very lyrical and if you have an appreciation for slower paced film they are very rewarding。 Also， if you did not have any concept of the magnitude of what is going on in the Three Gorges area， these films will give you a first hand view。

The director Jia Zhang-ke was not in attendance for the North American premiere， as he presumably was still in Venice celebrating his win of the Golden Lion for this film and 2 awards for the documentary。

轉自IMDB 英文網

心靈之美 1級 2007-02-17 回答

本打算幾個星期前就去電影院看《三峽好人》，結果到了電影院一看那兒根本不放這個片兒，只好看了《黃金甲》。

今天終於在網上下到了《三峽好人》。看完之後，用一種很俗套的說法就是：心情久久不能平靜。。。

電影一開始，就是一個長鏡頭——我個人覺得這個長鏡頭和《不夜城》剛開始的那個長鏡頭一樣牛逼，絕對應該被寫進中國電影史的教科書中。

在這個長鏡頭中，我看到了一個真實的“底層流民中國”。我很熟悉這樣的場景，也很熟悉場景中的那些人，雖然我是一個北方人，雖然我從沒坐過那樣的客船，但我在火車上，在客車上，都曾經見過他們。他們背井離鄉，他們流離失所，他們命賤如草，他們自娛自樂，然後自生自滅。他們聽著或唱著那些爛大街的流行歌曲，他們在露天場所跳交際舞、打麻將，或是去看草臺班子的走穴演出。為了尋求活路，他們可能會為50元人民幣而賣命，或是去隨時都可能丟掉自己性命的媒礦打工。而他們的孩子則有多半會“世襲”他們的貧窮，不到十五歲便輟學，然後去中國南方的血汗工廠打工，或是進城當保姆、當小偷、當小姐。。。

我記得西方有這樣一句諺語，說公民的住宅是“風能進，雨能進，國王不能進”——“三峽好人”們顯然沒有這樣的權利意識，也沒有這樣的好命。他們的住宅被強制拆除，隨後我們在影片中會看到有人蜷縮在“垃圾袋”裡，有人住在橋洞改造成的房子裡，更多的人則是遠離家鄉。。。

看完這部電影，我想說的就是，其實我們都是“三峽好人”。

不要以為你是大學生你就不是“三峽好人”，不要以為你是白領你就不是“三峽好人”，不要以為你是所謂的“精英”你就不是“三峽好人”。。。

說到這裡，我想起在網上曾看到一篇文章中說有一對“中產夫妻”，兩人年收入十幾萬人民幣，擁有兩處房產，別人都很羨慕他們，可突如其來的一場病，便將他們的財產全部榨乾，他們也因此迅速淪落到社會的最底層。。。

所以你真的不要僥倖，你沒聽過老百姓編的那個順口溜嗎？

“房改就是想把你的錢包掏空，教改就是想把你的父母逼瘋，醫改就是要為你提前送終”。。。

匿名使用者 1級 2007-02-17 回答

oanosndojspjipawjgpsjgpdjgfljmbljpudspgpskg；xkmg；v

匿名使用者 1級 2007-02-17 回答

你說的是什麼 啊

、 我都搞不懂你在問什麼