Ⅰ 请问“经典电影推荐”用英文怎么说
请问“经典电影推荐”用英文怎么说
Classic movies recommendation
或是:
Classic films recommendation
都可以。
很希望会对你有帮助。
Ⅱ 经典的英语电影
罗马假日，巴黎圣母院，卡萨布兰卡，阿甘正传。。。。
Ⅲ 老片英语怎么说
an old movie (film)
Ⅳ 中国经典电影的英文名
《Farewell My Concubine》———再见了,我的小老婆(《霸王别姬》)
《Be There or Be Square》———在那里或者是平等的(《不见不散》)
《Seventeen Years》———十七年(《回家过年》)
《So Close to Paradise》———天堂如此之近(《扁担,姑娘》)
《Ashes of Time》———时间的灰烬(《东邪西毒》)
《All Men Are Brothers: Blood of the Leopard》———四海之内皆兄弟:豹
子的血(《水浒传》,《水浒传》有个英文译名就是《四海之内皆兄弟》)
《Chinese Odyssey 1: Pando-ra,s Box》———中国的奥德赛1:潘多拉宝盒
(《大话西游之月光宝盒》)
《Chinese Odyssey 2: Cin-derella, A》灰姑娘(《大话西游之仙履奇缘》)
《Funeral of the Famous Star》———明星的葬礼(《大腕》)
《Treatment》———治疗(《刮痧》,如果美国法律这么认为就好了)
《Dream Factory》———梦工厂(《甲方乙方》)
《Steel Meets Fire》———钢遇上了火(《烈火金刚》)
《Third Sister Liu》———第三个姐姐刘(《刘三姐》)
《Red Firecracker, Green Firecracker》———红鞭炮,绿鞭炮(《炮打双
灯》)
《Breaking the Silence》———打破沉默(《漂亮妈妈》)
《Emperor's Shadow》———帝国的阴影(《秦颂》)
《In the Mood for Love》———在爱的情绪中(《花样年华》)
《Woman-Demon-Human》———女人-恶魔-人类(《人鬼情》,失恋中的译者)
《From Beijing with Love》———从北京带着爱(《国产007》)
《Fatal Decision》———重大选择(可惜FATAL有致命的意思,致命的抉择？
《生死抉择》)
《In the Heat of the Sun》———在炎热的太阳下(《阳光灿烂的日子》,原文
的"阳光灿烂"可有寓意啊。译文让JEWAYS想起中学语文第几课来着———祥子拉
着人力车在街上走)
《Keep Cool》———保持冷静(《有话好好说》)
《Far Far Place》———很远很远的地方(《在那遥远的地方》,想起LONG
LONG AGO)
《Sixty Million Dollar Man》———六千万美元的男人(《百变星君》)
《Flirting Scholar》———正在调情的学者(《唐伯虎点秋香》)
Ⅳ 经典英语电影
1. 为子搬迁
2. 亚当斯一家
3. 老友记
4. 玛丽与马克斯
5. 飞屋历险记
6. 阿甘正传
7. 怎样都成
8. 别对我撒谎
9. 独家新闻
10. 爱在日落余晖时
11. 朱诺
12. 冰河世纪
13. 四个房间
14. 光猪六壮士
15. 双层公寓
16. 他其实没那么喜欢你
17. 超市夜未眠
18. 葬礼上的死亡
19. 哈拉上路
20. 蕾切尔的婚礼
Ⅵ 十部电影十句经典英语怎么说简单的
十部电影十句经典
The ten film ten classic
十部电影十句经典
The ten film ten classic
Ⅶ “经典电影''用英语怎么说怎么说
classical film(s)
或 classical movie(s)
Ⅷ 英语经典电影
《拜见岳父大人》有两部，挺好看的，尤其是第二部
《戴夫号飞船》喜剧，有外星人
《贫民窟的百万富翁》这个不说了，看了就觉得精彩，八项奖不是白拿的
《大明星从军记》《好男》室友看觉得很好看。《返老还童》《南极大冒险》这个挺感人，狗狗很可爱
《好好先生》
Ⅸ 急需英语经典电影的英文介绍!!!(详细的好!)
这是1933年版《金刚》电影的介绍，希望对你交作业有帮助
The greatest and most famous classic adventure-fantasy (and part-horror) film of all time is King Kong (1933). Co-procers and directors Merian C. Cooper and Ernest B. Schoedsack (both real-life adventurers and film documentarians) conceived of the low-budget story of a beautiful, plucky blonde woman (Fay Wray) and a frightening, gigantic, 50 foot ape-monster as a metaphoric re-telling of the archetypal Beauty and the Beast fable. [Fay Wray mistakenly believed that her RKO film co-star, 'the tallest, darkest leading man in Hollywood,' would be Cary Grant rather than the beast. Later in her life, she titled her autobiography "On the Other Hand" in memory of her squirming in Kong's grip.]
The major themes of the film include the struggle for survival on the primitive, fog-enshrouded, tropical Skull Island between the ardent and energetic filmmakers (led by Robert Armstrong), the hero (Bruce Cabot in a part originally offered to Joel McCrea), the voodoo natives, and the forces of nature (the unique Beast creature); unrequited love and the frustration and repression of violent sexual desires. However, the primitive, giant ape must also struggle against the forces of urban civilization and technology when it is exploited for profit and returned for display in New York City ring a time of economic oppression.
From the start of the picture, its clever screenplay by James Ashmore Creelman and Ruth Rose (based on a story by Merian C. Cooper and Edgar Wallace) suggested the coming terror. The film was shot ring the spring and summer of 1932 in the confines of the studio. Due to their limited budget for sets, Cooper and Schoedsack used the jungle locale from the latter's previous film The Most Dangerous Game (1932) - an adventure film that also starred Fay Wray. When released, it broke all previous box-office records. Its massive, money-making success helped to save RKO Studios from bankruptcy.
The following scenes for the 1938 re-release, that were excised by censors after the Proction Code took effect in 1934, were restored in recent editions of the film:
the Brontosaurus' killing of three victims (instead of five in the original)
the giant spider scene
Kong's stripping/peeling of Fay Wray's clothing while holding her unconscious in his palm
Kong's chewing of a New York victim and his drop of a woman from the Empire State Building
This remarkable film received no Academy Awards nominations - it would have won in the Special Effects category if there had been such a category. The film contained many revolutionary technical innovations for its time (rear projection, miniature models about 18 inches in height, and trick photography, etc.), and some of the most phenomenal stop-motion animation sequences and special effects ever filmed (by chief technician Willis O'Brien, famed for his first feature film The Lost World (1925)). A wildly dramatic musical score by Max Steiner enhanced the action of the story.
The film has numerous memorable moments, including Kong's battle with a giant snake in a misty cavern, his struggle against a flying pterodactyl, the screaming beauty (Fay Wray, known as the "Queen of Scream") held captive in Kong's giant clenched palm, and the finale with the defiant Kong atop the Empire State Building while circling aircraft shoot him down. In director John Guillermin's inferior remake King Kong (1976), starring Jessica Lange, the great ape takes his last stand atop one of the towers of the World Trade Center.
King Kong launched the "giant beast" subgenre of science-fiction, inspiring the 1950's atomic mutant creature features and the Japanese giant movie monsters like Godzilla, Gamera, Rodan, etc. Godzilla and King Kong actually faced off in the Japanese film King Kong Vs. Godzilla (1962, Jp.) (aka Godzilla vs. King Kong in Japan). Various other Kong-related films are summarized in the following list:
Son of Kong (1933)
Mighty Joe Young (1949)
Konga (1961)
King Kong Vs. Godzilla (1962, Jp.)
King Kong Escapes (1967, Jp.)
King of Kong Island (1968)
King Kong (1976)
A*P*E (1976, Kor.)
Queen Kong (1976, UK)
King Kong Lives (1986)
The Mighty Kong (1998, animated)
Mighty Joe Young (1998)
[Oscar-winning The Lord of the Rings trilogy director Peter Jackson shot a remake of the classic 1933 film as King Kong (2005), with Jack Black (as Carl Denham), Adrien Brody (as Jack Driscoll), Naomi Watts (as Fay Wray), and Andy Serkis (and CGI) employed for the 25-foot tall monstrous ape.]
--------------------------------------------------------------------------------
The film begins with the title card from an Old Arabian Proverb:
And the Prophet said, 'And lo, the beast looked upon the face of beauty. And it stayed its hand from killing. And from that day, it was as one dead.'
The scene is 1932 at the Hoboken docks in New Jersey ring a Depression-era winter. A dock night watchman is approached and asked about the nearby moored steamer: "Say, is this the moving picture ship?" The watchman confirms that the ship is going on a "crazy" voyage, and knows of the brash reputation of Carl Denham (Robert Armstrong), a fearless and arrogant adventure filmmaker and movie procer, who is preparing for a film expedition: "...that crazy fella that's a runnin' it....They say he ain't scared of nothing. If he wants a picture of a lion, he just goes up to him and tells him to look pleasant." Everybody around the dock is talking about the unusually large cargo and number of crew members - "three times more than the ship needs." The well-dressed man, Charles Weston (Sam Hardy), a theatrical agent, is invited on board the vessel by First Mate Jack (John) Driscoll (Bruce Cabot) and is told: "Come on board. Denham's gettin' wild. I hope you got some good news for him."
In the captain's cabin, trusted skipper-Captain Englehorn (Frank Reicher) confers with Denham and suggests that he sail immediately by the next day's light, before the fire marshal can discover his illegal cargo of ammunition, explosives and gas bombs, one of which is strong enough "to knock out an elephant." They must also get to their destination to finish filming before the monsoon season starts. Weston and Driscoll enter and Denham demands to know if the agent has located an actress to star in his top-secret film: "Somebody's interfered with every girl I've tried to hire. And now all the agents in town have shut down on me. All but you, you know I'm square." Weston believes Denham has a "reputation for recklessness that can't be glossed over." Weston also objects to Denham's secretiveness - not even the skipper and first mate know where they are going. The agent hasn't found a girl because his conscience won't let him ask a young girl to take on such an unknown project:
I can't send a young pretty girl such as you ask on a job like this without telling her what to expect...To go off on a trip for no one knows how long, to some spot you don't even hint at, the only woman on the ship with the toughest mugs I ever looked at.
No ingenue actress will commit to a long sea voyage to an unknown destination, with an all-male crew. Denham argues that there's more danger in New York for most women: "Listen, there are dozens of girls in this town tonight that are in more danger than they'll ever see with me." "Yeah, but they know that kind of danger," thick-headed Jack pipes up. Denham complains that he needs to have a heroine in his picture to provide romance and a love interest:
Holy Mackerel. Do you think I want to haul a woman around?...Because the Public, bless 'em, must have a pretty face to look at...Well, isn't there any romance or adventure in the world without having a flapper in it?...Makes me sore. I go out and sweat blood to make a swell picture and then the critics and the exhibitors all say, 'If this picture had love interest it would gross twice as much.' All right. The Public Wants a Girl, and this time, I'm gonna give 'em what they want.
Undaunted but frustrated, the entrepreneurial, jungle filmmaker promises them he will make the "greatest picture in the world, something that nobody's ever seen or heard of. They'll have to think up a lot of new adjectives when I come back." He leaves to find a girl for his picture by himself, vowing: "even if I have to marry one." A cab drops him off outside the Woman's Home Mission where women are in a breadline, but he doesn't see any potential prospects. Nearby, he notices a hungry, out-of-work, and broke girl reaching for an apple from a fruit market on the streets of New York. The street vendor catches the girl and threatens to call the police. After paying off the irate proprietor with a buck to rescue her, she swoons into his arms. When he takes a good look at her, he impulsively decides that she has the kind of beauty that he is looking for - perfect for the starring role in his documentary movie.
Denham takes the starving young girl by taxi to a Bowery restaurant, buys her a meal, and over a cup of coffee asks her about herself. She is orphaned with no family, although she says: "I'm supposed to have an uncle someplace." She also worked as a film extra at a studio on Long Island before it closed. She identifies herself as Ann Darrow (Fay Wray) and he enthusiastically offers the down-and-out, destitute woman a job: "I've got a job for you. Costumes on the ship won't fit you. Broadway shops are still open. I can get some clothes for you there." To encourage the beautiful girl to go along, he entices her with a promise of lifting her out of obscurity:
It's money and adventure and fame. It's the thrill of a lifetime and a long sea voyage that starts at six o'clock tomorrow morning.
Ann hesitates with fear in her voice, fearing that she will be made Denham's mistress: "No wait. I - I don't understand. You must tell me. I do want the job so, but I can't..." Denham chivalrously reassures her by explaining his position: "Oh, I see. No, you've got me wrong. This is strictly business....Listen, I'm Carl Denham. Ever hear of me?" His fearless, courageous, daredevil reputation is even known by Ann: "Yes. Yes! You make moving pictures in jungles and places." Ann is told that she has been picked to be the leading lady in his new film, and their voyage leaves at 6 am to a place "a long way off." Ann agrees to the voyage, after Denham offers final assurances that sex isn't involved: "I'm on the level. No funny business...Just trust me and keep your chin up." They shake on it.
The next day, the all-male crew sets sail on a long six-week journey on the S. S. Venture bound for the South Pacific. The good-looking and brawny, but disgruntled First Mate Driscoll meets Ann on deck and unpleasantly marks her as "that girl Denham picked up last night." The males on board are angry and distrustful at the prospect of having such a tempting, attractive, and charming woman along on such a dangerous voyage: "I've never been on one with a woman before." Women are a "nuisance" on board ships, according to him.
During the voyage, Ann prepares to practice and rehearse a scene for the film director on the deck, "to see which side of my face looks best and all that." Driscoll really believes her life is in jeopardy and is feeling protective of her safety: "This is no place for a girl," he tells her. The First Mate is chauvinistic, but apologetic: "You're all right, but, but, but women, women just can't help being a bother. Made that way, I guess."
Denham strolls into their company, and sees Ann fondly petting the ship's pet monkey - a miniature foreshadowing of the regal Beast in the film. He comments, sardonically: "Beauty and the Beast, eh?" Ann excuses herself to put on one of her costumes for the film test to be directed by Denham. While waiting for Ann to reappear, Driscoll confronts Denham and asks what lies ahead: "When do we find out where we're going?...And you going to tell us what happens when we get there?"
Possibly feeling threatened by Driscoll's growing crush on his actress-heroine, Denham suspects that the crew member has been emasculated and gone "soft" and "sappy" over Ann's Beauty. Denham equates the first mate to the Beast in his Hollywood script - already robbed of his virile masculinity e to his concern for Ann's vulnerable presence:
Denham: Oh, you have gone soft on her, eh? I've got enough troubles without a love affair to complicate things. Better cut it out, Jack.
Driscoll: Love affair! You think I'm gonna fall for any dame?
Denham: I've never known it to fail: some big, hard-boiled egg gets a look at a pretty face and bang, he cracks up and goes sappy.
Driscoll: Now who's goin' sappy? Listen, I haven't run out on ya, have I?
Denham: No, you're a pretty tough guy, but if Beauty gets you, ya...(He breaks his train of thought and turns away with a self-deprecating smile.) Huh, I'm going right into a theme song here.
Driscoll: Say, what are you talkin' about?
Denham: It's the idea of my picture. The Beast was a tough guy too. He could lick the world. But when he saw Beauty, she got him. He went soft. He forgot his wisdom and the little fellas licked him. Think it over, Jack.
Ⅹ 10句经典英语电影并翻译
一《Shawshank Redemption肖申克的救赎》
1.You know some birds are not meant to be caged, their feathers are just too bright.
你知道，有些鸟儿是注定不会被关在牢笼里的，它们的每一片羽毛都闪耀着自由的光辉。
2.There is something inside ,that they can't get to , that they can't touch. That's yours.
那是一种内在的东西, 他们到达不了,也无法触及的,那是你的。
3.Hope is a good thing and maybe the best of things. And no good thing ever dies.
希望是一个好东西,也许是最好的,好东西是不会消亡的。
二《Forrest Gump 阿甘正传》
1.Life was like a box of chocolates, you never know what you're gonna get.
生命就像一盒巧克力，结果往往出人意料。
2.Stupid is as stupid does.
蠢人做蠢事(傻人有傻福)。
3.Miracles happen every day.
奇迹每天都在发生。
4.Jenny and I was like peas and carrots.
我和珍妮形影不离。
5.Have you given any thought to your future?
你有没有为将来打算过呢。
6． You just stay away from me please.
求你离开我。