拯救大兵瑞恩英文讀後感

第一篇：拯救大兵瑞恩英文觀後感

a review on saving private ryan

some movies are destined to be a landmark of memory. moreover, it’s more difficult to become a well-known war film, but the film named saving private ryan which directed by steven spielberg deserve the honor that is the one of the best war films.

there is no doubt that the reason why i choose to see the film is its higher reputation. when i saw the film, i was deeply attracted by the lifelike pictures of war.

at the beginning of the film, the famous battle about the second war, the normandy landing was almost truly restored on the screen. where there is the fire flying all around, there are sacrifices. what a hard and miserable battle it is! honestly, the film would totally objectively give you the meaning of the war. a war creates a hell to make whoever people or soldiers being involved it.

during the horrible war, a mother would almost lose all her sons. so the scene that eight soldiers save ryan comes on. one or eight, which option would be more value? the mission of soldiers is obeying the order of commander. the mission that saves the mother’s son ryan owes to the sympathy of commanders.

in this movie, “mother” is the important topic. also, it’s the topic that battle can’t evade. in the battlefield of omaha, the young soldier who was bloodied and disabled by explosion shouts mom miserably. “mom, take me home! “, the doctor named wade also murmured weakly, when he was shot and dying in the area of enemy. in addition, there is still a point that reflects the relationship in war. you could remember that capasso want to bring the girl away. the girl was entrusted to the group by her family. however, the girl didn’t want to leave her parents and she got more mature earlier after she passed the war. moreover, what a pity that capasso was dead because of his mercy! in the end a war cruelly led to the ruin of homeland and the separation of relation. the victims of war are innocent people after all.

meanwhile, the film vividly reflects someone’s inner mind through the war background. captain miller was trained efficiently and filled fully with quality of soldier. he loyally insists to finish the task of superior. sniper jackson is really calm and decisive. his crack shots like his devout heart to god. i think most people would blame the death of jew mulish on the translator urban and be very angry with him. however, urban is the role to extremely expose the inward world in the battlefield. he was cowardice and softhearted. actually, he wouldn’t be said he was adaptive to the battle, but it’s possible how much people wouldn’t like him. i think he would also hate himself, because, just at that time, the inward world completely comes out. like the cowardice, the contemptible german soldier also reflects the evil of heart.

so this is a war. it’s full of the brave and the lofty. also, it has the contemptible and cowardice.

第二篇：拯救大兵瑞恩英文影評

拯救大兵瑞恩英文影評

the soldiers assigned to find pvt. ryan and bring himhome can do the math for themselves. the army chief of staff has ordered them on the mission for propaganda purposes: ryan's return will boost morale on the homefront, and put a human face on the carnage at omaha beach. his mother, who has already lost three sons in the war, will not have to add another telegram to her collection. but the eight men on the mission also have parents--and besides, they've been trained to kill germans, not to risk their lives for publicity stunts. ``this ryan better be worth it,'' one of the men grumbles

in hollywood mythology, great battles wheel and turn on the actions of individual heroes. in steven spielberg's ``saving private ryan,''

thousands of terrified and seasick men, most of them new to combat, are thrown into the face of withering german fire. the landing on omaha beach was not about saving pvt. ryan. it was about saving your skin.

the movie's opening sequence is as graphic as any war footage i've ever seen. in fierce dread and energy it's on a par with oliver stone's ``platoon,'' and in scope surpasses it--because in the bloody early stages the landing forces and the enemy never meet eye to eye, but are simply faceless masses of men who have been ordered to shoot at one another until one side is destroyed.

spielberg's camera makes no sense of the action. that is the purpose of his style. for the individual soldier on the beach, the landing was a chaos of noise, mud, blood, vomit and death. the scene is filled with countless unrelated pieces of time, as when a soldier has his arm blown off. he staggers, confused, standing exposed to further fire, not sure what to do next, and then he bends over and picks up his arm, as if he will need it later.

this landing sequence is necessary to establish the distance between those who give the order that pvt. ryan be saved, and those who are ordered to do the saving. for capt. miller (tom hanks) and his men, the landing at omaha has been a crucible of fire. for army chief george c. marshall (harve presnell) in his washington office, war seems more remote and

statesmanlike; he treasures a letter abraham lincoln wrote consoling mrs. bixby of boston, about her sons who died in the civil war. his advisors question the wisdom and indeed the possibility of a mission to save ryan, but he barks, ``if the boy's alive we are gonna send somebody to find him--and we are gonna get him the hell out of there.'' that sets up the second act of the film, in which miller and his men penetrate into french terrain still actively disputed by the germans, while harboring mutinous thoughts about the wisdom of the mission. all of miller's men have served with him before--except for cpl. upham (jeremy davies), the translator, who speaks excellent german and french but has never fired a rifle in anger

and is terrified almost to the point of incontinence. i identified with upham, and i suspect many honest viewers will agree with me: the war was fought by civilians just like him, whose lives had not prepared them for the reality of battle.

the turning point in the film comes, i think, when the squadron happens upon a german machinegun nest protecting a radar installation. it would be possible to go around it and avoid a confrontation. indeed, that would be following orders. but they decide to attack the emplacement, and that is a form of protest: at risk to their lives, they are doing what they came to france to do, instead of what the top brass wants them to do. everything points to the third act, when private ryan is found, and the soldiers decide what to do next. spielberg and his screenwriter, robert rodat, have done a subtle and rather beautiful thing: they have made a philosophical film about war almost entirely in terms of action. ``saving private ryan'' says things about war that are as complex and difficult as any essayist could possibly express, and does it with broad, strong images, with violence, with profanity, with action, with camaraderie. it is possible to express even the most thoughtful ideas in the simplest words and actions, and that's what spielberg does. the film is doubly effective, because he communicates his ideas in feelings, not words. i was reminded of ``all quiet on the western front.'' steven spielberg is as technically proficient as any filmmaker alive, and because of his great success, he has access to every resource he requires. both of those facts are important to the impact of ``saving private ryan.'' he knows how to convey his feelings about men in combat, and he has the tools, the money and the collaborators to make it possible.

his cinematographer, janusz kaminski, who also shot ``schindler's list,'' brings a newsreel feel to a lot of the footage, but that's relatively easy compared to his most important achievement, which is to make everything visually intelligible. after the deliberate chaos of the landing scenes, kaminski handles the attack on the machinegun nest, and a prolonged sequence involving the defense of a bridge, in a way that keeps us oriented. it's not just men shooting at one another. we understand the plan of the action, the ebb and flow, the improvisation, the relative positions of the soldiers.

then there is the human element. hanks is a good choice as capt. miller, an english teacher who has survived experiences so unspeakable that he wonders if his wife will even recognize him. his hands tremble, he is on the brink of breakdown, but he does his best because that is his duty. all of the actors playing the men under him are effective, partly because spielberg resists the temptation to make them zany ``characters'' in the

tradition of world war ii movies, and makes them deliberately ordinary. matt damon, as pvt. ryan, exudes a different energy, because he has not been through the landing at omaha beach; as a paratrooper, he landed inland, and although he has seen action he has not gazed into the inferno. they are all strong presences, but for me the key performance in the movie is by jeremy davies, as the frightened little interpreter. he is our entry into the reality because he sees it clearly as a vast system designed to humiliate and destroy him. and so it is. his survival depends on his doing the very best he can, yes, but even more on chance. eventually he arrives at his personal turning point, and his action writes the closing words of spielberg's unspoken philosophical argument.

``saving private ryan'' is a powerful experience. i'm sure a lot of people will weep during it. spielberg knows how to make audiences weep better than any director since chaplin in ``city lights.'' but weeping is an incomplete response, letting the audience off the hook. this film embodies ideas. after the immediate experience begins to fade, the implications remain and grow

第三篇：影評《拯救大兵瑞恩》

《拯救大兵瑞恩》觀後感

《拯救大兵瑞恩》是一部描寫二戰時期的影片，講述了盟軍一隻八人小分隊潛入德軍後方，歷盡千辛萬苦，終於成功找到並帶回一位名叫瑞恩士兵，把他送還給他那已失去四個兒子中三個的母親的故事

在艱難的尋找過程以及找到瑞恩後誓死阻擊德軍的過程中，有三個人給我留下了深刻的印象———米勒、厄本、瑞恩。

美國的電影中向來不缺乏英雄，但米勒的出現卻讓我們眼前一亮。他並沒在影片中有突出的事蹟，並沒有力挽狂瀾的能力，看似不是人們心中的英雄。但我卻認爲，他是一個真正的英雄、真正有血有肉的英雄，他讓我感到了真實。誰說英雄一定要有過人的能力，誰說英雄就不能哭，誰說英雄就要不怕死。更重要的是在他眼裏戰爭是一場大火，越是煽動就越厲害，越蔓延，不斷死去的人，總會引發更多的戰爭，引發更多的人死去。這又告訴我們，英雄並不是好戰者，發動戰爭的都不是真正的英雄。英雄應該學會怎麼樣去平息戰爭，不讓更多的人死去。正是因爲米勒既有善良的心、卓越的領導能力，又有常人的舉止，才讓這個英雄與衆不同。在社會中他就是一個英明的領導。

至於厄本，我想着重說明一下。人們一定會認爲他是孬種，是懦夫，但在我看來，厄本的形象真正符合了現實生活中老百姓的形象。請注意，厄本在這次任務前只是一個小小的翻譯官。他只是一個大多數百姓的象徵，他只是個平凡普通的人。他表現出的躲閃，懦弱、不敢面對死亡、不敢衝出重圍挽救同盟?? 這一切都是人之常情，是一個普通人面對戰爭的態度。在普通人眼裏，面對戰場上的血腥，躲閃逃跑是第一個念頭，手無縛雞之力的人，怎麼可能神話般地衝上去將敵軍的頭顱打爆呢？這裏片子想告訴我們，不是誰拿起槍都能獨當一面，不是誰面對敵人就能英勇在前，這並不是每個人都能做到的削土豆皮那樣簡單的事情也從一個側面告訴觀衆，應該給予他們更多的關注，面對那些逃跑怯懦的士兵，也應該給予一些理解，畢竟在死亡面前，真正能夠做到視死如歸的人實在是微乎其微。

而瑞恩，一個在電影裏只出現了約40分鐘的二等兵，本身並不是個關鍵的人物，即便處於事件的核心，他的重要性也早被這次行動本身的意義所掩蓋。但是，略去拯救對象的額外身份，他，又是觀衆瞭解美國最普通士兵的途徑。被拯

救，這是外界不爲他所掌控的因素賦予他的義務，與他無關，因而影片的視角擴大了，在守橋之役前瑞恩根米勒講述自己兄弟的趣事一場戲，導演並非在試圖說服觀衆，力證這次行動是在拯救一個多麼值得憐憫的家庭，而是通過瑞恩的嘴，說出每一個美國士兵的故事——戰前，誰都有美好的生活，每個人都有他們被子彈擊中時要爲之感傷和不捨的東西，那究竟是什麼？總之是一些值得珍藏和懷戀的，卻又遠離的東西。戰爭的作用在這裏僅僅是毀滅所能毀滅一切，戰鬥者們便是要奪回他們能奪回的部分。從瑞恩的言語中，從他三個兄弟的表現中，我能感覺到瑞恩他做到了，做到誓死完成任務，誓死效忠國家了。米勒說過：“爲了一項任務，死掉兩三個人是值得的，但是可以換取二十、三十、甚至成百上千人的姓名。這樣死是值得的。”但是爲了區區一個二等兵瑞恩，卻死了三條人命，這看起來並不值得。瑞恩只是美國人概念中的士兵羣像，是他們憧憬的士兵的形象，是他們心目中的英雄，至少值得用生命去換取的人，是弘揚英雄主義的一個最好的典範。他的形象不見的高大，但是平凡中卻顯出不平凡足以謳歌美國士兵對國家的忠誠、對信仰的致死不逾。

可以說這三個人就是一個社會的縮影。米勒是領導，厄本是老百姓，瑞恩是榜樣。進一步說一個軍隊是等級分明的，就似一個社會。一個社會中榜樣的力量是無限的，會成爲士兵努力的目標。

不知大家注意沒有，本片開始用了40分鐘左右的時間描寫了諾曼底登陸的血腥場面。但這並不代表本片就情節拖沓了。正相反，本片從開場的血腥中暗示了戰爭的殘酷。而影片中從不同人口中經常可以聽到意思相同的一句話“完成任務，就可以回家”。在我看來，40分鐘的開頭以及這一句話很好的展現出了士兵們的心態：想讓戰爭快點結束，和家人團聚。畢竟誰都不想在如此殘酷的戰場上多待一分鐘。但德軍卻似一隻困獸，儘管已經是強弩之末，但還可以作困獸之爭。此時可以說是兩軍意志的比拼，作爲軍隊的領導人當然知道穩定軍心，提升士氣的重要性。於是他們想到了樹立榜樣。而這個榜樣就是“瑞恩”。既然樹立榜樣的力量是如此之大，那麼，拯救榜樣就變得理所當然了。拯救瑞恩就是爲了弘揚瑞恩的精神，爲了讓士兵們感到政府的關懷，找到自己的目標，提升一個由士兵組成的社會的力量。

影片中有一句名言：“對世界，你是一個大兵；對母親，你是整個世界。”親愛的讀者，如果你還堅持說這場任務“不值得”。那麼從現在起，你好好的生活，

做個好人，善待你的親人。用你的實際行動讓“拯救大兵瑞恩”。

第四篇：拯救大兵瑞恩觀後感

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馬克思主義基本原理概論》 《馬克思主義基本原理概論》 學期作業
生命的紐帶——【拯救大兵瑞恩】觀後感 生命的紐帶——【拯救大兵瑞恩】觀後感 ——
作者：英教 08（1）班 崔冰璽 030108101 2014/12/17

事件背景： 事件背景： 公元 1944 年 6 月 6 日——d-day，清晨 6 時 30 分，法國諾曼底。 爲了確保盟軍橫渡英吉利海峽，登陸歐洲大陸，開闢歐洲的第二戰場，加速德國法西斯 的滅亡， 盟軍最高指揮部精心準備並實施了二十世紀最大規模的海陸兩棲登陸作戰——諾曼 底登陸，行動代號爲“operation overlord”又稱“霸王行動” 。擔任指揮的是歐洲同盟國遠 徵軍最高司令、美國陸軍上將艾森豪威爾。行動直到 8 月末，盟軍攻佔巴黎才落下帷幕。盟 軍的登陸作戰同時在法國北部海岸的諾曼底的 5 個攤頭進行：寶劍、朱諾、黃金、奧馬哈以 及猶他海灘。 拯救大兵瑞恩的故事就發生在戰鬥最爲慘烈的奧馬哈攤頭， “血腥奧馬哈” 又稱 。 雖然盟軍最高指揮部早就做好了較爲完備的登陸作戰部署和戰略準備， 比如戰前欺騙， 地形 偵查和探測敵軍的戰略部署，但還是登陸當日，就在奧馬哈的攤頭，由於美軍的情報錯誤和 要在惡劣天氣下進行兩棲登陸作戰， 盟軍戰士們遇到了駐守德軍相當頑強的抵抗。 盟軍以陣 亡 2500 人的代價換了登陸作戰的成功。 服役於美軍 101 空降師“嘯鷹師”的二等兵瑞恩一家有四個兄弟，年輕的瑞恩是其中最 小的。不幸的是，他的三個兄長都在作戰中英勇犧牲，其自身也在登陸作戰後下落不明，這 對瑞恩的家庭尤其是他可憐的母親來講將是一種巨大災難性的打擊。 這件事也驚動了美國陸 軍參謀長馬歇爾上將，出於人道主意考慮，高層決定不惜一切代價，都要將瑞恩找到並安全 地送回後方。 主體： 主體： 由於從小對軍事戰爭史的熱愛或者可以說是癡迷， 我很小的時候就看過這部堪稱二戰電 影神作的作品，但是因爲年紀小，以前關注的是美軍的經典作戰裝備，m4 謝爾曼坦克，m1 加蘭德步槍，m1911 點 30 機槍，bar 勃朗寧輕機槍，湯普森衝鋒槍以及 m1911 柯爾特製 式手槍...只是知道影片講述的是一個美軍小分隊，在諾曼底登陸後深入敵方，去尋找一位士 兵的故事。但是後來，我以一個成年人的角度和眼光重新審視了這部作品發現，它所帶給我 們的不僅僅是視覺聽覺上的震撼， 更重要的是我聽到了在戰爭中人們內心裏一直呼喚的一個 聲音——生命的價值： 一個人的生命和幾個人的生命孰輕孰重。 而生命的紐帶從其誕生那天 開始從未中斷，換句話說：一個生命的延續就意味其他生命的湮滅。 本片開頭，

好萊塢著名導演斯皮爾伯格花了長達近 30 分鐘的時間，大手筆地爲全世界 觀衆再現了諾曼底登陸作戰的血雨腥風， 其慘烈之極導致首映的時候有一部分觀衆因爲身體 不適而提前離場。 這同時也預示了整個拯救行動絕非易事。 使我最震撼的一幕是主人公米勒 上尉被炮彈巨響震的暫時失聰，從而進入“無聲世界” ，鏡頭透過他的眼睛，用無聲交代了 一幕幕觸目驚心的慘狀：被炸斷的四肢，染紅海水的鮮血，尋找自己斷臂的士兵等等，而他 們面對的是德軍 mg42 機槍的火舌和岸防火炮的攻擊。 “此時無聲勝有聲”用在這裏再好不 過！ 登陸成功後，搜尋小分隊由這位美國陸軍上尉米勒帶領，一行 8 人，這意味着爲了一個 小小的二等兵的安全，可能要付出 8 人陣亡的代價。他們徒步進入法國諾曼底的戰略縱深， 那裏到處都有可能遇上成批的德軍。駐守的德軍個個裝備精良：魯格手槍，mg42 機槍， mp40 衝鋒槍以及二戰史上最令人聞風喪膽的“虎”式坦克！所以只要深入敵後一步，危險 就離他們又近了一步。
【拯救大兵瑞恩】觀後感

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很多人看到這裏可能會問： 這種看似荒唐近乎瘋狂的舉動到底是爲了什麼？是否真的值 得用可能帶來 8 人陣亡的代價去換來一個人的生命？小分隊裏的隊員個個都是有血有肉， 有 家庭，有夢想，難道他們的生命就沒有理由守護嗎？我認爲，單純從軍事戰略以及理性角度 來看，這次任務是不可取甚至是荒謬的。1 比 8，答案顯而易見。但是，如果從一種人性和 英雄主義情懷的角度去審視這個行動的話，無疑這是大無畏的：他們前途未卜，卻冒死執行 上級命令，這是一個軍人所應有的氣概！身爲一名美國軍人，是自由與正義的鬥士。對於捍 衛自由，他們義無反顧。對於追求正義，他們責無旁貸。誰也不希望看到的是一位白髮年邁 的老母親， 手裏捧着寄給她的第四面象徵自由的星條旗， 獨自一人承受着如此巨大的喪子之 痛！ 歷經千辛萬苦，瑞恩終於被找到了！他所在的分隊此時正在雷蒙保衛一座大橋，然而他 對自己的兄弟已經全部陣亡的消息一無所知。 悲痛萬分的同時他卻毅然決定留下。 因爲他深 知自己的任務，如果這時離開作戰部隊，盟軍的順利挺近就有可能遭遇麻煩。而此時米勒上 尉的小隊已經爲他付出了兩名隊員犧牲的代價。 最終， 上尉決定讓自己的小分隊也加入守軍 行列，用有限的兵力，做最精心的部署，等待德軍的到來。這裏是影片的最高潮，因爲人員 有限，德軍的兇猛攻勢最終把年輕的戰士們壓得透不過氣來，儘管用 c4 炸藥摧毀了一輛坦 克，但他們還是被逼到了橋頭

第五篇：拯救大兵瑞恩影評

拯救大兵瑞恩影評

連怡菲 法政1班 136410096

看完這部電影之後，感觸良多。很多人都覺得讓一隻八人組成的小分隊去營救一個不同二等兵的行爲有些荒唐，令人難以理解。特別是電影中用三個人的犧牲換來一個人的存活在戰爭中更是不切實際的，但是這樣一種看似荒唐可笑的舉動，恰恰反映了美國戰爭時期的人權政策，也時是美國戰爭中士兵資源可以不斷輸出的保證。

這部電影講述了二戰時期盟軍一隻八人小分隊潛入德軍後方，歷經各種艱險困境，終於成功找到並帶回一位名叫瑞恩的二等士兵，把他送回母親身邊的故事。當時由於瑞恩的三個兄弟都已經相繼在戰爭中壯烈犧牲，美國軍方考慮到瑞恩母親身邊只剩下一個兒子，出於人道主義，軍方決定派出一支八人小分隊找到下落不明的瑞恩，將其送回國內。電影開頭並沒有直接進入八人找尋瑞恩下落的片段，而是用了40分鐘的時間爲觀衆還原了當時的戰爭場面。戰爭無疑是血腥暴力的，充斥着死亡，流血，犧牲與背叛，影片開頭展現了諾曼底登陸的戰爭場面，到處都是死去的屍體，受傷士兵在尋找自己的支離破碎的身體，軍官米勒拖着的一名士兵在一個炸彈來襲之後只剩下半截身體。可見，當時戰爭的慘烈有過之而無不及，在這樣的情形之下，美國奪取諾曼底登陸的成功是極其不易的，士兵們勇往直前不怕犧牲的精神也是值得我們尊敬紀念的。40分鐘的視覺衝擊之後，八人小分隊就走在了尋找瑞恩的路上，這一路上的艱險困難一度令人崩潰，以至於牽扯出了影片最核心的一個問題，八個人去換一個人的性命真的值得嗎？他們爲什麼要這麼做？此時，瑞恩不再是一個個體，而是作爲美國戰爭中衆多士兵的化身。美國一直奉行人權政策，每個家庭在戰爭中必須要有青壯年參與戰爭，但是不能

全部犧牲，至少要有一個青壯年可以活下來，支撐整個家庭今後的命運。可以說，在這方面，美國的作法的確值得學習讚揚，這樣的做法保證了美國家庭在戰爭中的穩定，讓民衆能夠從政府官方獲得持久的安全感與信任，保證了美國戰爭中士兵資源的不斷輸出，國內局勢不至於動盪不安。而這部影片採取的是以點概面的思維模式，將美國當時整體局勢縮小成了一個八人小分隊拯救一個士兵的故事，以小見大，頗具創新風格。然而八人畢竟是面和心不合，每個人都性格迥異，總是會有人不服從上級的命令，與軍官對着幹。畢竟在這樣漫長的尋找過程中，戰爭的殘酷，生命的消亡始終都在消磨着每個人的意志，吞噬着每個人的信仰與堅持。在找尋瑞恩的途中，小分隊不停地有人犧牲死去，然而軍官米勒憑藉自己的能力盡力維護着小分隊成員的關係，以保證任務能夠繼續進行。在軍醫犧牲之前，米勒與衆多戰爭電影中的軍官沒有太大差別，可以說不摻雜個人情感色彩，始終以上級命令作爲自己的奮鬥目標。然而就在軍醫下葬的那一刻，他落淚了，他也是人，也有感情。他回憶起自己的家庭，自己的妻子還在家中盼他歸去，無論是軍官還是士兵，都希望戰爭能夠早些結束，自己能夠回到祖國，回到家鄉，然而，米勒等不到這一天了。在後來的營救過程中，小分隊找到了瑞恩，與他一同守橋，最終戰勝了敵軍。在守橋過程中，軍官米勒犧牲了。可以說，整部影片塑造了一個有血有肉的美國軍官，他不僅僅是一個分隊的領導者，也是一個英雄，在當時的戰爭環境下，能夠組織士兵完成上級任務，將瑞恩成功營救出來，他經歷了太多太多，即便戰友犧牲，自己負傷失聰，他從未停止過戰鬥。

可以說，當時的二戰，給世界帶來的是毀滅性打擊，在這一時期內，無數的士兵軍官爲了正義奉獻了自己的青春甚至生命。和平都是靠流血犧牲換來的，這樣的和平是沉重的，是我們每一個人應當用一生去維護的。