第一篇：拯救大兵瑞恩英文观后感
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评
拯救大兵瑞恩英文影评
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：影评《拯救大兵瑞恩》
《拯救大兵瑞恩》观后感
《拯救大兵瑞恩》是一部描写二战时期的影片，讲述了盟军一只八人小分队潜入德军后方，历尽千辛万苦，终于成功找到并带回一位名叫瑞恩士兵，把他送还给他那已失去四个儿子中三个的母亲的故事
在艰难的寻找过程以及找到瑞恩后誓死阻击德军的过程中，有三个人给我留下了深刻的印象———米勒、厄本、瑞恩。
美国的电影中向来不缺乏英雄，但米勒的出现却让我们眼前一亮。他并没在影片中有突出的事迹，并没有力挽狂澜的能力，看似不是人们心中的英雄。但我却认为，他是一个真正的英雄、真正有血有肉的英雄，他让我感到了真实。谁说英雄一定要有过人的能力，谁说英雄就不能哭，谁说英雄就要不怕死。更重要的是在他眼里战争是一场大火，越是煽动就越厉害，越蔓延，不断死去的人，总会引发更多的战争，引发更多的人死去。这又告诉我们，英雄并不是好战者，发动战争的都不是真正的英雄。英雄应该学会怎么样去平息战争，不让更多的人死去。正是因为米勒既有善良的心、卓越的领导能力，又有常人的举止，才让这个英雄与众不同。在社会中他就是一个英明的领导。
至于厄本，我想着重说明一下。人们一定会认为他是孬种，是懦夫，但在我看来，厄本的形象真正符合了现实生活中老百姓的形象。请注意，厄本在这次任务前只是一个小小的翻译官。他只是一个大多数百姓的象征，他只是个平凡普通的人。他表现出的躲闪，懦弱、不敢面对死亡、不敢冲出重围挽救同盟?? 这一切都是人之常情，是一个普通人面对战争的态度。在普通人眼里，面对战场上的血腥，躲闪逃跑是第一个念头，手无缚鸡之力的人，怎么可能神话般地冲上去将敌军的头颅打爆呢？这里片子想告诉我们，不是谁拿起枪都能独当一面，不是谁面对敌人就能英勇在前，这并不是每个人都能做到的削土豆皮那样简单的事情也从一个侧面告诉观众，应该给予他们更多的关注，面对那些逃跑怯懦的士兵，也应该给予一些理解，毕竟在死亡面前，真正能够做到视死如归的人实在是微乎其微。
而瑞恩，一个在电影里只出现了约40分钟的二等兵，本身并不是个关键的人物，即便处于事件的核心，他的重要性也早被这次行动本身的意义所掩盖。但是，略去拯救对象的额外身份，他，又是观众了解美国最普通士兵的途径。被拯
救，这是外界不为他所掌控的因素赋予他的义务，与他无关，因而影片的视角扩大了，在守桥之役前瑞恩根米勒讲述自己兄弟的趣事一场戏，导演并非在试图说服观众，力证这次行动是在拯救一个多么值得怜悯的家庭，而是通过瑞恩的嘴，说出每一个美国士兵的故事——战前，谁都有美好的生活，每个人都有他们被子弹击中时要为之感伤和不舍的东西，那究竟是什么？总之是一些值得珍藏和怀恋的，却又远离的东西。战争的作用在这里仅仅是毁灭所能毁灭一切，战斗者们便是要夺回他们能夺回的部分。从瑞恩的言语中，从他三个兄弟的表现中，我能感觉到瑞恩他做到了，做到誓死完成任务，誓死效忠国家了。米勒说过：“为了一项任务，死掉两三个人是值得的，但是可以换取二十、三十、甚至成百上千人的姓名。这样死是值得的。”但是为了区区一个二等兵瑞恩，却死了三条人命，这看起来并不值得。瑞恩只是美国人概念中的士兵群像，是他们憧憬的士兵的形象，是他们心目中的英雄，至少值得用生命去换取的人，是弘扬英雄主义的一个最好的典范。他的形象不见的高大，但是平凡中却显出不平凡足以讴歌美国士兵对国家的忠诚、对信仰的致死不逾。
可以说这三个人就是一个社会的缩影。米勒是领导，厄本是老百姓，瑞恩是榜样。进一步说一个军队是等级分明的，就似一个社会。一个社会中榜样的力量是无限的，会成为士兵努力的目标。
不知大家注意没有，本片开始用了40分钟左右的时间描写了诺曼底登陆的血腥场面。但这并不代表本片就情节拖沓了。正相反，本片从开场的血腥中暗示了战争的残酷。而影片中从不同人口中经常可以听到意思相同的一句话“完成任务，就可以回家”。在我看来，40分钟的开头以及这一句话很好的展现出了士兵们的心态：想让战争快点结束，和家人团聚。毕竟谁都不想在如此残酷的战场上多待一分钟。但德军却似一只困兽，尽管已经是强弩之末，但还可以作困兽之争。此时可以说是两军意志的比拼，作为军队的领导人当然知道稳定军心，提升士气的重要性。于是他们想到了树立榜样。而这个榜样就是“瑞恩”。既然树立榜样的力量是如此之大，那么，拯救榜样就变得理所当然了。拯救瑞恩就是为了弘扬瑞恩的精神，为了让士兵们感到政府的关怀，找到自己的目标，提升一个由士兵组成的社会的力量。
影片中有一句名言：“对世界，你是一个大兵；对母亲，你是整个世界。”亲爱的读者，如果你还坚持说这场任务“不值得”。那么从现在起，你好好的生活，
做个好人，善待你的亲人。用你的实际行动让“拯救大兵瑞恩”。
第四篇：拯救大兵瑞恩观后感
第 1 页 共 1 页
马克思主义基本原理概论》 《马克思主义基本原理概论》 学期作业
生命的纽带——【拯救大兵瑞恩】观后感 生命的纽带——【拯救大兵瑞恩】观后感 ——
作者：英教 08（1）班 崔冰玺 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 时 30 分，法国诺曼底。 为了确保盟军横渡英吉利海峡，登陆欧洲大陆，开辟欧洲的第二战场，加速德国法西斯 的灭亡， 盟军最高指挥部精心准备并实施了二十世纪最大规模的海陆两栖登陆作战——诺曼 底登陆，行动代号为“operation overlord”又称“霸王行动” 。担任指挥的是欧洲同盟国远 征军最高司令、美国陆军上将艾森豪威尔。行动直到 8 月末，盟军攻占巴黎才落下帷幕。盟 军的登陆作战同时在法国北部海岸的诺曼底的 5 个摊头进行：宝剑、朱诺、黄金、奥马哈以 及犹他海滩。 拯救大兵瑞恩的故事就发生在战斗最为惨烈的奥马哈摊头， “血腥奥马哈” 又称 。 虽然盟军最高指挥部早就做好了较为完备的登陆作战部署和战略准备， 比如战前欺骗， 地形 侦查和探测敌军的战略部署，但还是登陆当日，就在奥马哈的摊头，由于美军的情报错误和 要在恶劣天气下进行两栖登陆作战， 盟军战士们遇到了驻守德军相当顽强的抵抗。 盟军以阵 亡 2500 人的代价换了登陆作战的成功。 服役于美军 101 空降师“啸鹰师”的二等兵瑞恩一家有四个兄弟，年轻的瑞恩是其中最 小的。不幸的是，他的三个兄长都在作战中英勇牺牲，其自身也在登陆作战后下落不明，这 对瑞恩的家庭尤其是他可怜的母亲来讲将是一种巨大灾难性的打击。 这件事也惊动了美国陆 军参谋长马歇尔上将，出于人道主意考虑，高层决定不惜一切代价，都要将瑞恩找到并安全 地送回后方。 主体： 主体： 由于从小对军事战争史的热爱或者可以说是痴迷， 我很小的时候就看过这部堪称二战电 影神作的作品，但是因为年纪小，以前关注的是美军的经典作战装备，m4 谢尔曼坦克，m1 加兰德步枪，m1911 点 30 机枪，bar 勃朗宁轻机枪，汤普森冲锋枪以及 m1911 柯尔特制 式手枪...只是知道影片讲述的是一个美军小分队，在诺曼底登陆后深入敌方，去寻找一位士 兵的故事。但是后来，我以一个成年人的角度和眼光重新审视了这部作品发现，它所带给我 们的不仅仅是视觉听觉上的震撼， 更重要的是我听到了在战争中人们内心里一直呼唤的一个 声音——生命的价值： 一个人的生命和几个人的生命孰轻孰重。 而生命的纽带从其诞生那天 开始从未中断，换句话说：一个生命的延续就意味其他生命的湮灭。 本片开头，
好莱坞著名导演斯皮尔伯格花了长达近 30 分钟的时间，大手笔地为全世界 观众再现了诺曼底登陆作战的血雨腥风， 其惨烈之极导致首映的时候有一部分观众因为身体 不适而提前离场。 这同时也预示了整个拯救行动绝非易事。 使我最震撼的一幕是主人公米勒 上尉被炮弹巨响震的暂时失聪，从而进入“无声世界” ，镜头透过他的眼睛，用无声交代了 一幕幕触目惊心的惨状：被炸断的四肢，染红海水的鲜血，寻找自己断臂的士兵等等，而他 们面对的是德军 mg42 机枪的火舌和岸防火炮的攻击。 “此时无声胜有声”用在这里再好不 过！ 登陆成功后，搜寻小分队由这位美国陆军上尉米勒带领，一行 8 人，这意味着为了一个 小小的二等兵的安全，可能要付出 8 人阵亡的代价。他们徒步进入法国诺曼底的战略纵深， 那里到处都有可能遇上成批的德军。驻守的德军个个装备精良：鲁格手枪，mg42 机枪， mp40 冲锋枪以及二战史上最令人闻风丧胆的“虎”式坦克！所以只要深入敌后一步，危险 就离他们又近了一步。
【拯救大兵瑞恩】观后感
第 2 页 共 2 页
很多人看到这里可能会问： 这种看似荒唐近乎疯狂的举动到底是为了什么？是否真的值 得用可能带来 8 人阵亡的代价去换来一个人的生命？小分队里的队员个个都是有血有肉， 有 家庭，有梦想，难道他们的生命就没有理由守护吗？我认为，单纯从军事战略以及理性角度 来看，这次任务是不可取甚至是荒谬的。1 比 8，答案显而易见。但是，如果从一种人性和 英雄主义情怀的角度去审视这个行动的话，无疑这是大无畏的：他们前途未卜，却冒死执行 上级命令，这是一个军人所应有的气概！身为一名美国军人，是自由与正义的斗士。对于捍 卫自由，他们义无反顾。对于追求正义，他们责无旁贷。谁也不希望看到的是一位白发年迈 的老母亲， 手里捧着寄给她的第四面象征自由的星条旗， 独自一人承受着如此巨大的丧子之 痛！ 历经千辛万苦，瑞恩终于被找到了！他所在的分队此时正在雷蒙保卫一座大桥，然而他 对自己的兄弟已经全部阵亡的消息一无所知。 悲痛万分的同时他却毅然决定留下。 因为他深 知自己的任务，如果这时离开作战部队，盟军的顺利挺近就有可能遭遇麻烦。而此时米勒上 尉的小队已经为他付出了两名队员牺牲的代价。 最终， 上尉决定让自己的小分队也加入守军 行列，用有限的兵力，做最精心的部署，等待德军的到来。这里是影片的最高潮，因为人员 有限，德军的凶猛攻势最终把年轻的战士们压得透不过气来，尽管用 c4 炸药摧毁了一辆坦 克，但他们还是被逼到了桥头
第五篇：拯救大兵瑞恩影评
拯救大兵瑞恩影评
连怡菲 法政1班 136410096
看完这部电影之后，感触良多。很多人都觉得让一只八人组成的小分队去营救一个不同二等兵的行为有些荒唐，令人难以理解。特别是电影中用三个人的牺牲换来一个人的存活在战争中更是不切实际的，但是这样一种看似荒唐可笑的举动，恰恰反映了美国战争时期的人权政策，也时是美国战争中士兵资源可以不断输出的保证。
这部电影讲述了二战时期盟军一只八人小分队潜入德军后方，历经各种艰险困境，终于成功找到并带回一位名叫瑞恩的二等士兵，把他送回母亲身边的故事。当时由于瑞恩的三个兄弟都已经相继在战争中壮烈牺牲，美国军方考虑到瑞恩母亲身边只剩下一个儿子，出于人道主义，军方决定派出一支八人小分队找到下落不明的瑞恩，将其送回国内。电影开头并没有直接进入八人找寻瑞恩下落的片段，而是用了40分钟的时间为观众还原了当时的战争场面。战争无疑是血腥暴力的，充斥着死亡，流血，牺牲与背叛，影片开头展现了诺曼底登陆的战争场面，到处都是死去的尸体，受伤士兵在寻找自己的支离破碎的身体，军官米勒拖着的一名士兵在一个炸弹来袭之后只剩下半截身体。可见，当时战争的惨烈有过之而无不及，在这样的情形之下，美国夺取诺曼底登陆的成功是极其不易的，士兵们勇往直前不怕牺牲的精神也是值得我们尊敬纪念的。40分钟的视觉冲击之后，八人小分队就走在了寻找瑞恩的路上，这一路上的艰险困难一度令人崩溃，以至于牵扯出了影片最核心的一个问题，八个人去换一个人的性命真的值得吗？他们为什么要这么做？此时，瑞恩不再是一个个体，而是作为美国战争中众多士兵的化身。美国一直奉行人权政策，每个家庭在战争中必须要有青壮年参与战争，但是不能
全部牺牲，至少要有一个青壮年可以活下来，支撑整个家庭今后的命运。可以说，在这方面，美国的作法的确值得学习赞扬，这样的做法保证了美国家庭在战争中的稳定，让民众能够从政府官方获得持久的安全感与信任，保证了美国战争中士兵资源的不断输出，国内局势不至于动荡不安。而这部影片采取的是以点概面的思维模式，将美国当时整体局势缩小成了一个八人小分队拯救一个士兵的故事，以小见大，颇具创新风格。然而八人毕竟是面和心不合，每个人都性格迥异，总是会有人不服从上级的命令，与军官对着干。毕竟在这样漫长的寻找过程中，战争的残酷，生命的消亡始终都在消磨着每个人的意志，吞噬着每个人的信仰与坚持。在找寻瑞恩的途中，小分队不停地有人牺牲死去，然而军官米勒凭借自己的能力尽力维护着小分队成员的关系，以保证任务能够继续进行。在军医牺牲之前，米勒与众多战争电影中的军官没有太大差别，可以说不掺杂个人情感色彩，始终以上级命令作为自己的奋斗目标。然而就在军医下葬的那一刻，他落泪了，他也是人，也有感情。他回忆起自己的家庭，自己的妻子还在家中盼他归去，无论是军官还是士兵，都希望战争能够早些结束，自己能够回到祖国，回到家乡，然而，米勒等不到这一天了。在后来的营救过程中，小分队找到了瑞恩，与他一同守桥，最终战胜了敌军。在守桥过程中，军官米勒牺牲了。可以说，整部影片塑造了一个有血有肉的美国军官，他不仅仅是一个分队的领导者，也是一个英雄，在当时的战争环境下，能够组织士兵完成上级任务，将瑞恩成功营救出来，他经历了太多太多，即便战友牺牲，自己负伤失聪，他从未停止过战斗。
可以说，当时的二战，给世界带来的是毁灭性打击，在这一时期内，无数的士兵军官为了正义奉献了自己的青春甚至生命。和平都是靠流血牺牲换来的，这样的和平是沉重的，是我们每一个人应当用一生去维护的。