勇敢的心观后感_勇敢的心观后感400字

1.《勇敢的心》观后感

2.紧急 奥里森·斯韦特·马登 《勇敢的心》读后感！！

3.勇敢的心英文观后感

4.电视剧《勇敢的心》如何评价？

5.勇敢的心电视剧读后感1000

6.角斗士《勇敢的心》哪个好看观后感角斗士观后感

7.求勇敢的心观后感一篇，英文的，300字左右

Fighting? What's fighting?!What for? Every man in the world may go to fight,for peace,for freedom,or just for rage. These days I watched some excellent movies which received many awards in their times. Yesterday,I just finished watching Bre Heart.The excellent movie did gain tremendous achievements in those days .For instance,it was awarded Best Cinematography,Best Director,Best Effects, Sound Effects Editing,Best Makeup,Best Picture in Oscar (奥斯卡最佳影片、最佳导演、最佳摄影、最佳音乐、最佳化装五项大奖) and so on. The acting is amazing, and the ending was brilliant.Everything that hens in this movie is unpredicted,such as Murron's death,William's participation in the battle,the reneging of Robert which caused by his father actually,and so on. The amount of courage and brery was inconceivable.I do respect for those heroes's courage very much.However, I was shocked by their unjustice death.They did not deserve so miserable a way of dying!! I hate Robert's father.The old man is really rascal! He broke his son's promise to William not only once,and it's he who brought William to death! Fortunately,the young leader,Robert the Bruce,was able to lead the fight for the scots freedom at last.Thanks for his brery and justice. In addition,I respect the courage of other captains as well,such as Hamish.They fight for their sire,their grate William Wallace,the macaulish! Furthermore,when Iooked deep into their eyes, it remind me of the fight between Naruto and carra.I was surprised to find the same meaning in the eyes of these bre fighters! I admire them! I am so aflame in my heart after watching the movie that I hardly calm down,let alone to go to sleep... Bre Heart,as valiant as heroes! I will treasure the precious movies up.

《勇敢的心》观后感

他，叫威廉华莱士，苏格兰人亲切的称他“苏格兰之子”；他，有颗勇敢的心， 那颗心盛满着对自由的渴望。----题记 很遗憾，这部传说中的经典作品，我直到现在才有幸一瞧。《勇敢的心》，拍摄于1995年，由梅尔·吉卜森自编自导自演，该片囊括了当年奥斯卡最佳影片、最佳导演、最佳摄影、最佳音乐、最佳化妆等五项大奖。可以这么说，1995年的影 坛是属于梅尔·吉卜森的，是属于《勇敢的心》的。 何以此片如此大受欢迎？也许答案就在吉卜森饰演的那个男主角上。他，叫威廉华莱士，苏格兰人亲切的称他“苏格兰之子”；他，有颗勇敢的心，那颗心盛满着对自由的渴望。 个人以为片中最最经典的景图就是，华莱士被英格兰人处死时从喉咙喉出的那声 “Freedom”。说真的，也许你只有看过才会觉得，华莱士喊出的那一刻是多么的 震撼。当被押上断头台的时候，面对喧嚣的人群，面对主审官，他沉默的注视着 一切，脸上扩散的是坚毅。他希望从容的死去，然而即将被吊死时，他又被放了 下来；接着绞轮架上他又被拉得关节脱臼，到刑床上又剖割，他，威廉华莱士始 终没有屈服。于是现场窒息，片刻，之前喧嚣的敌视的英格兰人群呼喊“mercy” ，乞求上苍能够宽恕华莱士。究其一生，他手中的剑都为自由而战，他勇敢的心 都为苏格兰的儿女。因此那声“Freedom”，虽已是片末，虽已是他生命的终结， 但也是该片的画龙点睛之笔，自然也就是高潮。“Freedom”让华莱士更加成了华 莱士。 是鹰不会拒绝飞行，是勇士不会不战斗的。《勇敢的心》有人把它归为战争题材 ，其实我个人更趋同它是部艺术片。当然它也有对战争场面的描述，但比起《特 洛伊》《珍珠港》等片实在显得有些捉襟见肘。或许是中古世纪的战争很讲究打 仗阵列吧，片中不多的几场战争戏显得紧张不足，节奏的缓慢似乎也使画面显得 冗长。所以说《勇敢的心》算得上史诗巨制，但绝对不能与，追求战争给人以感 光刺激的《特洛伊》《珍珠港》等片相提并论。 其实华莱士也不是天生就为反英格兰。当 Murron （茉朗）还没被英格兰驻军杀 死时，无论苏格兰如何生灵有倒悬之急，社稷怎样累卵之危，似乎都和我们的威 廉华莱士无关。或许他最大理想就是与Murron 长相思守，终老一生；但他又不敢 公开迎娶Murron，因为他不愿意与英格兰贵族共享爱妻。为了更好的统制苏格兰 ，当时的英格兰国王长脚爱德华竞宣布英格兰贵族拥有苏格兰婚嫁女子的初夜权 。没有Murron就没有后来的华莱士，可以这么说她唤起来华莱士天生就勇敢的心 。Murron是华莱士一生的挚爱，说到这我不得不提下他们两人早年的相识。那时 华莱士的父亲在一次作战中身亡，葬礼上小小的华莱士悲恸欲绝，一直默默无语 的站在父亲旁，祷告完毕后，当别人都慢慢离去时，唯独有个女孩不但未走，而 且还拉了拉华莱士的衣襟送给他一朵紫蓟花——苏格兰国花。这一幕也是相当感 人的，尽管只是一处细节，但我以为于此片来说相当的有意义。而那个女孩正是 Murron ，论坛上有人称Murron 为天使，说“天使曾经递给威廉一朵野菊花”。 论坛上的人搞错了，那花不是野菊花而是前面提到的紫蓟花——苏格兰国花。 Murron还是死了，她临死时的眼神蓄着泪水，望着远处，渴望着华莱士的出现， 挺震撼人心。这一幕让我看片时又想起来紫霞的眼神，那是对至尊宝出现的渴望 。Murron的死，这对华莱士绝对是个打击，勇敢的心告诉他必须报仇必须把英格 兰撵出自己的国土，苏格兰的儿女不该再归他们拥有。于是乎，波澜壮阔的起义 爆发了，长脚爱德华害怕了，他派出军队疯狂的侵入苏格兰。面对敌人的疯狂， 勇敢的心并没怯懦，你瞧阵前华莱士是如何鼓舞士气的，他说，“Fight and you may die, run and you'll live. At least a while.And dying in your beds many years from now, would you be willing to trade all the days from this day to that for one chance, just one chance to come back here and tell our enemies that they may take our lives, but they'll never take our freedom”。又是“Freedom”，可见自由引导华莱士。 华莱士有勇敢的心，并不等于他不害怕，在伦敦的囚牢里他坦言：“我非常害怕 ，请赐给我力量，让我就死从容”。这是英雄的心声，那为何他不真喝下王子妃 的麻药以减少点痛苦呢？因为那样他就不是华莱士，那一生痛恨的长脚爱德华就 赢了。论坛上讨论华莱士有没有真爱上这个王子妃——敌人阵营的王子妃，我个 人认为肯定爱上了，至于后来华莱士临死喊出“Freedom”，恍惚中看见了Murron 而不是王子妃，那也很正常，毕竟名分上说不过去让人心里作祟。何况勇敢的心 渴望的是自由，引用帖子就是：“生命曾可贵,爱情价更高,若为自由故,两者皆可 抛。——14世纪的华莱士的历史，19世纪的裴多菲的诗歌，20世纪的吉卜森的电 影”。据历史，华莱士和王子妃应是没这点情事的，吉卜森这样“篡改”历史或 许是为体现刀光剑影的柔情吧，本来Murron可以很好体现这点，但却过早的死去 ，于是吉卜森只能够虚构了。当华莱士问王子妃为什么帮我，王子妃道，“因为 你眼中的豪情”。 说《勇敢的心》，我再说下罗伯，此人似乎是了解华莱士，但为了贵族的利益他 又不得不和英格兰王合作，出卖了华莱士。当短兵相接中，华莱士意外发现罗伯 时那份震惊，那份打击，我以为吉卜森演出的十分到位。当然罗伯也痛苦，他是 苏格兰人，和爱德华合作只是形式所迫，后来在华莱士死后正是罗伯继续扛起来 反英的大旗。罗伯，其实他和华莱士一样也有一颗勇敢的心。 关于《勇敢的心》我就说这么多吧，总之它是经典，它很让我感动。另外它的背 景音乐也很好听，拍摄地点也蛮漂亮的，我喜欢。在我敲这篇文字时，我就一直 反复听着那苏格兰风笛和那些好听的曲调。 自由的剑，勇敢的心。

希望纳

紧急 奥里森·斯韦特·马登 《勇敢的心》读后感！！

我一向不爱看欧洲的古代战争片，原因就是因为欧洲古代的战争，放在中国楚汉和三国这样的时代，就像两个村庄在打斗。因为欧洲古时候实行的是庄园制度加骑士制度，通常两个城堡打架就是几百个人和几百个人打一架。

? 不过《勇敢的心》这部**，真的太震撼了，该**无论是英雄的剧情，还是战争的场景，都堪称完美。虽然**里的战争人数十分少，一个城堡的守护人数也就几十个人，毕竟英国古代的现实原因在那。可是导演在拍摄战争的时候却能够抓住各种细节，血腥的战役更是烘托了战士们高昂的情绪。这**也是梅尔吉布森的代表作品，是奥斯卡最佳影片。

? 唯一的雷点是苏菲玛索和男主角的爱情以及床上戏份，虽然说苏菲玛索特别美，演的角色也很好。可是**里给苏菲玛索加戏过多。苏菲玛索一个娇弱的手无缚鸡之力的王妃，不可能随意逃出城堡和华莱士通风报信还的。而且整部**里男主角一直说他爱自己的妻子，结果最后因为王妃像自己的妻子，又和敌人英格兰的王妃了，这剧情实在太狗血了。

? 男主角的第一段感情十分正常，这段爱情是男主角带领苏格兰人民反抗英格兰暴政的导火线，贯彻首尾。他们的爱情悲剧也是由于英格兰的残暴制度导致的。

? 男主角华莱士的爸爸是苏格兰的贵族，他的爸爸在年轻的时候被苏格兰的国王，随后自己便被他的叔叔收养。多年以后，男主角回到了自己的家乡，在别人的婚礼上，他见到了自己的青梅竹马美伦。

? 从**里，我们可以看出苏格兰当时的条件是十分差的，房屋看起来十分破烂，都是由一块块石头加无双的稻草堆起来的，可想而知当时的苏格兰条件十分落后。男主角梅尔吉布森与他妻子的扮演者也显老，不像是将要谈婚论嫁的人，倒像是大龄剩男剩女。

? 男主角和女主角相爱，可是他们只能偷偷地结婚，因为英格兰国王给予了贵族们“初夜权”，庄园主们可以占有当地新婚夫人的初夜。因此男女主角便偷偷地结婚。

? 然而好景不长，某天，女主角被一个年老的骑士看中，那个老头子想她，女主角反抗，但是恶毒的英格兰骑士却以女主角殴打的罪名了她。

? 男主角再也遏制不住以往的怒火，他与村里的苏格兰勇士们一起，杀死了驻扎在这里的英格兰骑士们，打响了反抗的第一炮，随后，周围的村庄的苏格兰人民也相继进入了这支队伍里。队伍越来越大，攻陷了一个又一个城堡。

? 眼看着胜利在即，然而，华莱士万万也不会想到，自己居然被苏格兰的贵族们背叛了，英格兰的国王许诺给他们封地。于是，这场为了自由的战争以失败告终。

? 最后，华莱士再次被欺骗，他被苏格兰的贵族们抓走献给了英格兰的国王。国王打算给他实施“凌迟”的惩罚。监斩官无论威逼利诱，严刑拷打，男主角就是没有祈求英格兰的国王。最后，连监斩官和英格兰的人民也看不下这个严酷的刑罚，直接处死了男主角。男主角临死前，看到了自己的妻子，在家庭的温暖中死去。男主角临死前发出的那一声“自由”，这声音正是男主角心中的夙愿，是他征战英格兰的动力，这声音也是无数千万苏格兰人民心中的呐喊，是被奴隶者对施暴者的不满。

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勇敢的心英文观后感

应社会学作业要求，我开始第二次观看《勇敢的心》。相对于第一次的走马观花，这次观影更加注重背景，细节之处。

影片在悠扬的苏格兰风笛声中展开了威廉姆华莱士的故事。在英格兰暴君爱德华一世的统治之下，苏格兰人民生活在水深火热之中。在这样的背景中，小威廉姆目睹了一批追求自由者被暴君吊死的惨状，经历了父亲战死的悲痛。其后，他跟随叔叔到处旅行，学习知识和剑术。后来回到原来的村庄，本想过平静快乐生活的威廉姆与梅伦秘密结婚。但这样的生活随着梅伦被施暴未遂的英格兰军官割喉结束了。他奋起反抗，揭竿而起。开始了他英雄的生涯。

随后的故事在此不赘述，我想更多的，谈谈我关注到的细节和感悟。

整部影片所不断强化的主题是：自由。正如威廉姆对苏格兰士兵们的演说一样：“嗨，战斗也许会令你死去，逃避后你却定能生存，至少暂时能活命。从今而始，直到多年之后你躺在床上等待死亡的时刻，你宁不宁愿用这些苟活的日子去换取一次重来的机会，那仅仅是回到这个战场，一起对我们的敌人宣告：他们可以夺走我们的生命，可永远也无法夺走我们的自由！”对于自由的追求，是威廉姆华莱士一直勇敢战斗，不畏艰难险阻原始动力。为此，他战败了依旧爬起继续为自由而战；为此，他虽发现罗伯特和英王勾结备受打击，却愈战愈勇，暗杀苏格兰贵族；为此，他明知是圈套，却依然不愿放弃任何一个争取自由的机会；为此，他放弃爱情，拒绝妥协和臣服，毅然接受酷刑。。。。。。

可以说，“生命诚可贵，爱情价更高。若为自由故，二者皆可抛。”正是威廉姆一生的写照。在整部影片中，为了强调自由，对比和反衬的手法得到完美的发挥演绎。

与威廉姆形成对比的众多人中，有残暴镇压人民，无视自由的爱德华一世，无能懦弱，苟活着坐等王位的爱德华二世，向英王臣服只求安稳的苏格兰贵族，在为自由反抗和继续臣服以获苏格兰统治权中徘徊的罗伯特，刑场围观麻木无知的平民。

在此谈谈苏格兰贵族罗伯特。撇开历史事实，就影片而言，他是一个矛盾的人物。他的父亲：苏格兰老贵族一直给他灌输的思想是：臣服于英王，无视其对苏格兰人民的暴行，以获得苏格兰的王权，苟活在英王的统治之下。面对父亲用自由换来的枯朽的余年，再对比威廉姆为自由而战的所向披靡，他不禁开始徘徊摇摆。这样的心理也表现在他的行动上。他出卖过威廉姆，也在紧急关头救了他。最后，他彻底被威廉姆折服，在华莱士去世后，向英军宣战，带领苏格兰人民走向自由的道路。

《勇敢的心》带给人感动的情节太多，但最令人震撼的，还是最后行刑时他那响彻天际的呐喊“Freedom”,表达了他对旧制度的宣战和对新生的渴望。虽然他倒下了，但是他身后的苏格兰人民在他的精神指引下赢得了最终的自由胜利。

在现在的社会，我们所拥有的自由和已多了许多。但，需要拷问的是，我们是否具有那样一颗勇敢的心，去追求我们所希望的“自由”？我们是否拥有那样的勇气，不顾任何阻碍，不畏任何艰险，去努力实现自己的价值观，活出真实的自己？

现实中的我们更像徘徊的罗伯特，面临着两条路，放弃安逸舒适、金钱权利，冒生命危险去挑战强大的英军以争取自由；或者是像他父亲一样，委曲求全，卑微地苟活一生。我想，“勇敢”二字的体现也拓展到抉择上。是向现实低头还是毅然选择为理想而艰苦奋斗，是随大流改变自己的思想还是即使是逆流而行也要向世界宣扬自己的价值观？我更希望看到这个世界，有更多的人如影片中的罗伯特一样，选择那条由勇敢的心所引领的道路，去实现真实的人生。

看完本片，以上就是我的一些看法见解。最后，以威廉姆华莱士的一句话来结束这篇观后感：Every man dies,not every man really lives.

——————工藤新一

电视剧《勇敢的心》如何评价？

[勇敢的心英文观后感]Let us recall again the side to see the long process of history, how to create heroes, you will find from our own side, a life .There is a direct their shadow. First, the inheritance of childhood Wallace is not natural endowment from the hero, at best, is the future generations of civilians, although his father had led a The small protest, as compared to his later, many of immature, unsuccessful factor. His father was then the representative of the civilian population, he uprising, power lies not in its own class on free awareness and evaluation. Some Sense, he is in the conspiracy of hate and who are loyal to the feudal lords of the country against the conviction, not even defeat Opponents of intent, only to let him know that tyrant, civilians also he the courage to fight. England foot-long expansion annexation to the Scottish territorial ambitions, cloth snared all participants in the peace negotiation of the assassination of the Scottish your People, young retainers were not spared. With tears in his eyes. He finally knows what death is, it is meant losing familiar with the cordial, no longer has sufficient warmth. The film, his uncle put on his chin, said the sentence: "You truth your mother." The meaning of this statement is not as simple as literally, is only the earance he sighs, only the sense of loneliness and fear Steep The Wallace declare: We are a, you still he to rely on close relatives.It was at that time Wallace explanation: He is one of the sentimental and weak heart.His uncle was a wise man, his brother died more than understanding the purpose and significance of protest. He has to learn Latin Wallace, Tell Wallace, learn how to use weapons, must first learn how to use the brain is more important to God through Latin understand where -- The truth was given to the people free. Young Wallace, of course, not completely understand this, he also constantly immersed in the native land of lost loved ones and seek grief Lane. In the dream his father and dialogue, his father said to him: "Heart is not detention, he the courage to pursue!" This undouedly is Health The earliest meaning of life Enlightenment. Wallace\'s uncle with his trels in Europe, he grew up in the maturity only after it will inherit from two ancestors on the Po Your legacy: good sense and courage, with his search for life from the free.Second, the aspirations of lifeOthers audience to participate in the wedding and let him do not realize that, in his country under the rule of the transient beauty, never impossible Emerging from the shadow of torn. No girl could escape long legs invention of the power with the intention of attracting domestic and nobles in Scotland reassuring presence on the land development. Such a person may be deprived of Road privileges, no dou makes a deeper civilians hey oppression. White bride no time to put her husband\'s embrace, it was rushed to the suppression of the British aristocracy. The groom in anger in the anti-intent Anti immediately by the sword on the neck-coercive. Bride inner scales choose his life, it Fukai swords hand, The ears of language, the wife finally let the vicious power by force, was forced to endure the pain of killing beloved cutter cut. At such times, the personal anger and resistance are so insignificant.

勇敢的心电视剧读后感1000

电视剧《勇敢的心》是一部热血抗战剧，播出之后收视率可观，评分较高，深得观众青睐，并成功燃起国人爱国情怀。《勇敢的心》同样是一部极具教育意义题材的抗战史，主人公霍啸林的能屈能伸，善待长辈的精神难能可贵，演员演技功底深厚，剧情却过于拖沓，男主霍啸林的个人英雄主义色彩较深，难免过于牵强。

男主霍啸林与男二赵舒城本是兄弟，却奈何两人走上了截然不同两条道路，一个拥有一颗保家护国的勇敢之心，始终与国人群众站在一起，令一人则勾结日军，残害百姓，从此便展开斗智斗勇。霍啸林与赵舒城不仅是属于拜把子兄弟，更是同根生，却奈何“相煎何太急”，两人有同时爱慕之人，结局因两人纷争，他们所爱之人也最终香消玉损。

霍啸林从最初的小无赖，在时局动荡下逐渐蜕变为众人追捧的英雄，赵舒城本是一高富帅，却因鬼迷心窍和欲望仇恨迷失双眼，从此偏离群众，走上一条十恶不赦的不归之路，随着抗战剧情推进，两男主之间的恩怨情仇愈演愈烈，剧情激烈有看点，触动观众爱国情结。

杨志刚饰演的男主霍啸林并非能文能武，本也只是一介莽夫，却凭借一张名嘴走遍天下，突破重重障碍，他知进退，爱好虚张声势，花言巧语是他独特之处。你也可以说霍啸林脸皮够厚，有时言谈举止并不受人待见，但他却始终如一为人民铲除恶人，一颗勇敢之心富裕他力量，辗转于各大敌营，救人于水火之中。杨志刚曾也出演过不少的抗战剧，但在此剧中的表现貌似与之前的《打狗棍》如出一辙，虽尽力表演，眼中有戏，却未能让观众眼前一亮，霍啸林的主角光环过于放大，有时男主的逞能和故作聪明，看的有些生硬和做作。

相反男二于毅饰演的赵舒城将坏人诠释到底，他的坏追根掘底似乎也能得到理解，最后的悔恨，甚至让人心疼，他诠释的男二很精彩真实。

要论演技最值得一提的便是张少华老师了，她自然流畅的演技堪称一流，她所演绎的老太太虽瘫痪在床，却睿智坚强，将战乱时期国人的超强意志力展露无遗，尤其是在中国得到解放之后站起来的那一刻，感染力十足，非常有力道的充斥着国人喜悦之情。

《勇敢的心》中剧情虽很有看点，无论是服装道具演员剧情走线都引人驻足，但不可否认此剧剧情的拖拉散慢成为一大弊病，硬是拖沓至76超长片集，难免受到网友诟病。

《勇敢的心》顾名思义，国人拥有一颗勇敢之心的重要性，同时此类型的抗战片足够夺人眼球，引人共鸣，是一部值得一看的抗战片。

角斗士《勇敢的心》哪个好看观后感角斗士观后感

电视剧《勇敢的心》早在九月十八日大结局了，故事很感人，很虐心，对于国人来说很有历史教育意义，发人深思。所以我觉得看完了这76集的电视剧，不能看完了就看完了，应写观后感。剧

《勇敢的心》又名为“天下第一军，义勇军”是根据真是故事改编而成的。顾名思义，是为了纪念9.18，日军侵华战争而演的。故事讲述的是霍啸林(杨志刚)得罪了保安司令赵金虎，逃出西

阳。赵金虎化妆成土匪杀了霍啸林全家。霍啸林拜师习武伪装使诈，在梅姑娘的配合下刺杀了赵金虎。霍啸林与梅姑娘有情却无法一起逃走，从此天各一方。霍啸林闯荡江湖，在汉口变成了个为了生存可以随时的黑帮。梅姑娘如幻影般出现又如在梦境中消失，只有当霍啸林遇到困的时候，他才能发现梅姑娘的存在。结识了***人韩亲仁，霍啸林终于明白自己走上了歧途，决定带着全家离开汉口回热河老家。1933年热河抗战爆发，霍啸林不忍看着中华大地惨遭侵略者铁蹄践踏，成立热河义勇军，天下闻名。韩亲仁、梅姑娘都来到热河，以不同形式支持着抗日义勇军。日本侵略者专门从东京调来生化部队，对付他们永远无法战胜的霍啸林。为了让全世界都知道面对侵略者的屠刀有人在抵抗，霍啸林决定抛妻弃子、以身报国。当我想起那一幕幕感人肺腑，惊心动魄，豪情壮志的画面时，我就仿佛身临其境，如我生活在那个年代，我会是怎么样呢？金钱可以保命，有钱可以当官，社会黑暗，百姓疾苦，其间，有海誓山盟的兄弟情义，又不共戴天的仇恨，竟有尊老的孝子，又有海枯石烂的爱情，更有爱国的情怀，他们久别重逢，死里逃生。让我最感动的是他们重义气，有责任之心和爱国之心。我们在一段时光勇敢的心全集里笑过、哭过，一时排解不开纠结的情绪，随着时光的流逝慢慢沉淀在心底，汇集成了一道雕琢的风景。岁月掠夺了我们的容颜，却留下了属于我们的故事。有些故事虽然只是刹那芳华，却趟过了岁月的心河，融入了血液。在与时光的对望中，嫣然了笑容，泪流了感动，经年走过，我驻足、回望，却依然心存流连、无怨无悔故事有时候莫名的不知所措，只想觅一方寸之地，静静的感受心跳和呼吸，把不安的躁动和低落的情绪压在心底，轻轻的安抚，远离世俗的惊扰，安逸份平淡的心性。没有心事的神伤，常常会制造一种不知所以的挤压与彷徨，困扰心情的也许不是得失，而是一种不知名的感伤，一种灵魂的空旷。而我们常在这种感觉中无法驾驭自我，不经意间就触摸到了一种不知名勇敢的心全集的脆弱。也许只有安静才能给予心灵极致的净化，才能走出自己设下的漩涡。。。。。。

求勇敢的心观后感一篇，英文的，300字左右

角斗士《勇敢的心》哪个好看 观后感　角斗士观后感

早在2001年，《角斗士》就荣获了第73届奥斯卡最佳影片、最佳男主角等5项大奖，可直到昨天，我才真正沉下心来把它看完。

尽管耗资号称2.5亿美元，可《角斗士》呈现的战争和搏斗场面带给我的感觉却远没有《勇敢的心》来的震撼。

不是不够恢弘，而是不够真实，甚至不如某些国产的武侠片。

不过，这些都是细节，丝毫不影响影片中故事结构的完美和它所蕴含的深刻意义。

古今中外，贪慕权欲常常被当作男人的天性，所以厚黑学等一类玩弄权术的着作会被加以追捧。

可无敌英雄马克西姆斯却反其道而行之，置权柄于不顾，渴望做一个不想控制任何人同时也不愿被无端控制的人，表面看，这和中国古代历史上那些功成名就后退隐田园的智士例如范蠡、刘伯温颇为相似，可实际上他们的境界却有着天壤之别。

马克西姆斯希望退居幕后是为了民主共和，是一种高尚的行为。

而范蠡、刘伯温则是为了避免兔死狗烹，乃一种无奈之举。

影片的镜头设计和运用可谓独具匠心。

尤其是一开始，随着浓烈而又凝重深厚的音乐，在一片灿烂金**麦田里，一只粗旷而有力的男人的手轻轻捋过麦穗，似乎在深情地诉说着一份遥远的温柔与思念。

这个长达28秒的特写镜头勾起了观众强烈的观影欲，让大家急着想要知道这究竟是谁的手？为什么一直捋着麦穗？细细领会，这真的就是差距啊！

主演罗素·克洛的非凡演技为影片增色不少，这也是他的巅峰之作，从此他步入了好莱坞一线男星之列，并且屡出佳作。

不过，女主演康妮·尼尔森更让我感到惊艳。

虽然影片留给康妮·尼尔森的表演空间并不大，可她却处处出彩，除了秀丽端庄的面容，婀娜多姿的身材，还有恰到好处的神情。

在马车里的慵懒天真，得知父亲被弟弟杀死后的无奈，看到弟弟威胁儿子时的恐惧，被弟弟要挟时的忍辱负重以及对马克西姆斯的一往深情等等。

相比起来，在美貌上更胜一筹的苏菲玛索在《勇敢的心》中表演就显得苍白多了。

1

Wags enjoy razzing the 13th-century Scottish epic Breheart, starring Mel Gibson in the role of freedom fighter William Wallace, as Die Hard in a kilt. Wait till they get to the knobby question of how Gibson's knees stack up against Liam Neeson's in Rob Roy. No matter. Gibson gets the last laugh. Breheart resists glib categorization. This rousing, romantic adventure is laced with sorrow and sagery. The audacity Gibson shows as the film's director extends to the running time, which is nearly three hours. Hamlet, with Gibson playing the melancholy Dane, was shorter, and Breheart isn't Shakespeare. Don't panic. Though the film dawdles a bit with the shimmery, dled love stuff involving Wallace with a Scottish peasant and a French princess, the action will pin you to your seat. With breathtaking skill, Gibson captures the exhilaration and horror of combat in some of the most vivid battle scenes ever filmed.

Wallace was knighted for leading his people in the fight against domination by England. Few facts are known about his personal life, which frees Gibson and screenwriter Randall Wallace (no relation) to run with the legend passed down mostly from the rhyming verse of a poet known as Blind Harry. It's a shame that Harry predates Hollywood by five centuries -- he could he made a killing cranking out kick-ass crowd pleasers.

Gibson's Wallace is a potent blend of Robin Hood, Attila the Hun and, yes, the wags were right, Detective John McClane in Die Hard. Wallace could relate to any story that pits one pissed-off fighter against the system. He faced an English army led by bad-to-the-bone King Edward the Longshanks, played by Patrick McGooban in a classic portrait of slithering sadism. Wallace also had to inspire Scottish peasants and nobles to follow his lead against daunting odds.

It's a ripping yarn, and Gibson could he slid by with the usual hack heroics. Kevin Costner's Robin Hood: Prince of Thieves did just that and still earned a pile. Gibson does it the hard way with attention to detail. He has retained the keen eye for character he showed in The Man Without a Face, his promising 1993 directing debut. Wallace doesn't spring to life as a full-blown legend, though he does speak Latin and French when he returns to his village in Scotland to settle down as a farmer and marry Murron (the meltingly lovely Catherine McCormack), his childhood sweetheart. It's the brutal fate dished out to Murron by the English that makes the farmer an outlaw.

That's when Wallace organizes the villagers into a ragtag militia. Brendon Gleeson's Hamish, James Cosmo's Campbell and Alun Armstrong's Mornay register strongly, as does Did O'Hara's Stephen, the Irish warrior who joins the Scottish cause. The teasing camaraderie botched in Robin Hood is expertly handled here. Gibson's impassioned performance as the hero who would not trade his freedom for English gold doesn't shrink from showing the barbarian who emerges at a call to arms.

"Are you ready for war?" Wallace shouts to his outnumbered troops at Stirling. It's the film's first major battle scene and a triumph for Gibson. Trying to stir hundreds of fatigued soldiers to action, Wallace rides his horse back and forth in a frantic effort to be heard. In most historical films, the stationary star manages to move multitudes with a throaty whisper. Gibson jettisons the Hollywood fakery. Riding among the men, his face streaked with woad (a blue dye used to terrify the enemy) and his voice hoarse from yelling. Wallace is a demon warrior crying out for vengeance.

Cinematographer John Toll, an Oscar winner for Legends of the Fall, thrusts the audience into the brutal frays at Stirling, York and Falkirk. Superbly edited by Steven Rosenblum (Glory), these sequences recall the blood poetry of Welles' Chimes at Midnight and Kurosawa's Seven Samurai. Sophisticated weaponry was centuries away. The Scots used hammers, axes, picks, swords, chains and even farm tools to crack skulls as they battered the English in the mud. They also set oil traps on the ground to burn their enemies, though shields and chain mail offered scant protection against the rain of English arrows. "Quite the lovely gathering." says Longshanks, surveying the carnage and dispatching his officers to send in Irish volunteers instead of expert English archers. "Arrows cost money," he sneers.

Gibson's handling of Wallace at war is so thrillingly done that one regrets the subplots that distract from the action. Wallace's flirtation with the king's French daughter-in-law, Princess Isabelle (Sophie Marceau), is fanciful fluff that undercuts his undying love for Murron, and the king's homophobic revenge on his preening son, Prince Edward (Peter Hanly), and the son's boy toy, Phillip (Stephen Billington), comes off as inexplicable gay baiting. Judicious cutting might he sharpened the film's focus and impact.

Still, don't get your kilt in a bunch over a spectacle that provokes such lively debate about the method and madness of war. Filmed with furious energy and surprising grity, Breheart takes the measure of a hero with a taste for blood to match his taste for honor. Wallace is an inspiring, unsettling role, and Gibson plays him, aptly, like a gathering storm.

2

Breheart is an action/drama movie about William Wallace (Mel Gibson). The film is no less than amazing in any way. Though the movie sports us with a 177 minute run time, it is amazing to see the interesting way in which, Mel Gibson behind the camera, works his magic. As the acting is magnificent, and the war sequences are brutal and violent, the film works out as a movie which will always be remembered as a classic.

The film focuses on William Wallace, growing up as a kid, his father was a fighter. After his death, his uncle took him in to watch over him, and teach him how to fight. When he is older though, he meets Murron MacClannough(Catherine McCormack). After he weds with her, she is murdered. Now enging her death, William sets out ot fight for his freedom, his justice and the right to live.

Mel Gibson did really an amazing job on capturing the character of William Wallace. Putting on the Irish accent, he shows us that he is a great actor and can do some things which we never thought he could do. Behind the camrea though, Mel is a completely different kind of person. He captures the fight scenes perfectly and beautifully. The one thing that was done well though, was the greatly realistic violence and brutal warfare of the film. The violence is spilled nicely, and realistically.

3

Breheart is another film directed by its star, Mel Gibson. Close on the heels of Rob Roy, this is the second tribute to a legendary Scottish hero, this time round William Wallace, the great medieval warrior leader. Though less clever than its predecessor, it is much grander in its nearly three-hour epic sweep.

The obvious comparison is with Henry V (the Olivier, not the Branagh), and even though Randall Wallace may not be quite so good a screenwriter as Shakespeare, the movie can hold its own. Randall Wallace calls himself the spiritual descendant of William Wallace, and he has deftly incorporated the not many known facts about his namesake, and addressed the legend with gusto and eloquence. The result is an epic that, a few excessively romantic touches notwithstanding, is more realistic than most. These medieval Scots live in ferocious-looking hovels, seem (at least the men) heroically unwashed, and he coiffures in which a kestrel could nest. The friendly punches with which they communicate could easily kill a lesser fellow -- an Englishman, say. Breheart aims to be a thinking man's epic. ``It's our wits that make us men,'' young William's da tells him, and, after da and big brother are killed by the English, Uncle Argyll continues the boy's education along similar lines. Pretty soon William has turned into Mel Gibson, a young man who wants to settle down and live in peace. But the English are making things hard, what with such things as ius primae noctis (in the film, more tersely but less correctly, the prima nocte) giving the English magistrate the right to deflower each lassie on her wedding night. Breheartrending business, that. Finally William secretly marries the bonniest of lasses, Murron -- played by the breathtakingly beautiful and talented Catherine McCormack -- but the English get wind of it, and when she won't put out for them, slit her throat in a shattering scene irradiated by Miss McCormack's performance. So William turns enger and, by one small further step, leader of the Scottish populace (as opposed to the nobles, suborned by Edward Longshanks, the Machiellian English king). There are plots and counterplots as the nobles sabotage William's efforts, and Robert the Bruce, who wants to help him, is prevented by his leprous father (well played by Ian Bannen), who expects the nobles to crown his son king. And much, much more. The love scenes are so-so, the political scenes ho-hum, but the fighting -- both individual contests and mass battle scenes -- is first-rate, barbaric, and sublime. You might think that so much battle stuff would pall after a while: how much slashing, chopping, stag, and skewering -- not to mention mangling and incinerating -- can there be without diminishing returns? Quite a bit; Gibson, to give him his due, comes up with new forms of warfare, better ways to turn charging men and horses into shishkebabs, new modes of battering down castle gates in a rain of boiling pitch from the battlements, fresh tricks to outsmart the enemy. And whereas this much violence with modern weapons would be unbearable, with medieval arms it becomes heroic and exhilarating. There is something ealing about Mel Gibson -- the ruggedly masculine countenance, the quick half-smile, the knack of conveying blue-eyed hurt (as when he discovers the Bruce under an enemy helmet), and a squarer-jawed determination than Dick Tracy's -- that sustains Breheart even through the unlikely scenes with Isabelle, the Princess of Wales (indifferently played by Sophie Marceau), and through the Wallace's -- or the Gibson's -- unconvincing displays of polyglotism. Add to this the beauties of Scotland, searchingly chronicled by John Toll's inexhaustible camera, the solid supporting performances among which Patrick McGoohan's sardonic-sadistic Edward I is especially noteworthy (never before he terminal consonants been drawn out to such ironic length), and the intelligently deployed music by James Horner. A Scottish acquaintance, George Campbell, questions the use of the sweeter uilleann (Irish) bagpipes rather than the fiercer Highland ones during the battle scenes, but these scenes are so exciting Horner could he used marimbas and I wouldn't he noticed. The film put me in mind of a four-line poem by Scotland's greatest modern poet, Hugh MacDiarmid: The rose of all the world is not for me. I want for my part Only the little white rose of Scotland that smells sharp and sweet -- And breaks the heart. And that is high praise.

4

What is there that can be said about Breheart that hasn’t been said before? It’s an epic movie that ought to be in the conversation about the best films of the past thirty years. And actually, “epic” might be too small of a word. Breheart is as much about the inner drama of William Wallace as it is about the life-and-death drama of the war for Scotland’s independence in the late 13th, early 14th centuries. It’s a story told on a grand scale with a great deal craft – and flair (and humor). This is a movie that offers both style and substance. It’s a direct precursor to the success of the Lord of the Rings movies – indeed, one can argue that the success of Breheart set the stage for those films. True, Breheart may not he universal eal in terms of genre, story, or its brutal portrayal of war. But there can be little dou of the value of a film that is, simply, one of the best I he ever seen.

The success of the film rests on the balance with which the story unfolds. Put simply, there’s something here for everyone: romance, action, character, philosophy, conflict, cinematography, great lines, music, and so on … and it all fits together almost flawlessly. I’m sure if you looked hard enough you could find fault with some parts of the movie, but considering its nearly three-hour run time it manages to oid pitfalls remarkably well.

This is William Wallace’s story. And through him, the audience is allowed a mirror with which to view itself. This is the true measure of a great story: its ability to not only provide commentary, but also to provoke introspection. And that hens here quite often. One of the film’s most quoted lines is “Every man dies, not every man really lives.” Within just those seven words there is a great deal of thought and sentiment. It encapsulates a philosophy, a raison d’être, that anyone can immediately identify with. And it’s a beautiful philosophy – like carpe diem. And it encourages us to find the purpose and meaning within our lives on a daily basis.

This is also a love story, between William Wallace and Murron – a childhood friend. Theirs is a story that flows effortlessly from childhood tragedy and bonding, to adulthood romance and marriage. Indeed, it is Murron’s murder that proves to be Wallace’s motivation to launch his personal war against England whose king, Edward ‘the Longshanks’ is portrayed with a powerfully brutality in the film, making him a very compelling villain.

Wallace’s quest is joined by a cast that is quite adept in their roles. There are hardly any weak links in the acting of this movie, which means that the underlying themes and conflicts are portrayed to maximum effect from start to finish. Mel Gibson’s directing certainly has to be credited for some of that success.

This is, without question, Gibson’s film. And it’s not without a certain part of vanity from the lead actor and director. If you were looking for a critique, this would be the most fertile ground for it. But for the most part, whatever vanity Gibson may he been displaying is overshadowed by the craft of everything else. The action is riveting, the dialogue is crisp (and profound) and the music is deeply, deeply moving.

James Horner’s score successfully taps into the heritage of Scotland while displaying a full orchestral presentation. The instrumentation and arrangements are all very well done, from wering flute to the bagpipes to the thunderous percussion during battle sequences.

5

I used to think that the history of Scotland around the end of the thirth century was one of those really complicated and messy affairs that could send any historian into a fit of sog. So imagine my surprise as I discovered it's really all about a bunch of rowdy guys mooning each other across a battlefield and then playing dodgeball.

"Breheart" is one of those audacious films that implies that war is "bad" by putting the violence at the forefront, slowing it down and tossing in lots of extra blood, piercings, stags, castrations, amputations and assorted mutilations with random insertions of Mel's butt -- just to make sure that the women get into it too. This is all topped off by a really long and protracted moment where the camera lovingly dotes on Mel Gibson as he is taken to a platform to be tortured. It's the kind of moment that makes preschoolers point to the screen and say, "Christ figure! Christ figure!" Either that or: "Look! He's shamelessly grooming himself for the Oscars!" (Oscar committees love Christ figures.)

After three delirious hours the message is clear: Buy an ax, kill a lot of people, wear a kilt, show your butt, screw a princess and (if you he some time left over) repeat this over and over and over and over and over... until you get caught. If ever a movie cried out for a halftime break, this was it.