岁月缝花

——《小时代4：灵魂尽头》观后感

“我们说好不分离，要一直一直地在一起，就算与时间为敌，就算与全世界背离。

他们陪伴了我5年的时间，他们的名字，他们的声音，他们的悲哀，他们的欢乐，像一根根棉线，编织进我们的生命里，再也无法剥离。”

我念想的友情就像百合一样洁白而清纯，不增添一点杂质。看完小时代后，我对友情有了更深的理解。

《灵魂尽头》是《小时代》系列的终结篇，讲述了顾里、林萧、南湘和唐宛如四位主角，随着时间一点一滴的流逝，在这座看似平和，实则危机四伏、充满阴谋的城市，四个不同性格、不同价值观人生观的姐妹，相互依偎，先后经历友情、爱情乃至亲情的巨大转变。在这部电影中，顾里无故亏空了4亿元，而且得了子宫癌，为了不让别人知道，就去伤害她的好朋友，让他们离开她。后来得知顾里做手术后，时代姐妹花有重新回到她身边，并且找到了亏空的4亿元。正在故事就要圆满结束的时候，一场大火又将他们拆散，只剩下了林萧一个。

其中给我印象最深的人是林萧。她没有南湘的漂亮，没有顾里的精致，更没有唐宛如那么over，她就是《小时代》中最普通、最渺小的一个，但她身上有别人所没有的乐观、重情以及对生活的淡然随性。在这部电影中，顾里因为自己得了子宫癌不想让别人知道而故意伤害了一个又一个人，一个又一个人从她身边离去。唯独她，林萧没有离开她，陪她过生日，度过一个又一个难关。

就像周崇光说的一段话一样：“我们活在浩瀚的宇宙里，漫天漂浮的宇宙尘埃和星河光尘，我们是比这些还要渺小的存在。你并不知道生活在什么时候突然改变方向，陷入墨水一般浓稠的黑暗里去。你被失望拖进深渊，你被疾病拉近坟墓，你被挫折践踏的体无完肤，你被嘲笑、被讽刺、被讨厌、被怨恨、被放弃。但是我们却总在内心里保留着希望保留着不甘心放弃跳动的心。我们依然在大大的绝望里小小的努力着。这种不想放弃的心情，它们变成无边黑暗的小小星辰。我们都是小小的星辰。”把我们生命中的人分为两种，一是过客，二是住进心里的人。过客终究只是过客，时光一拂，它们就随风而散了，甚至，不带走一片云彩，不留下一抹痕迹。第二种，便是用生命在歌唱，是雕刻在石头上，永远无法抹去的一笔，即使，只是一个角落，一个芝麻点，总之，它占据了你的心脏的一部分，是你无法忘记的。林萧、顾里、南湘和唐宛如把生活、痛苦给自己，把她们的青春给对方，一直一直地在一起。我觉得，爱情不是世界上最美好的感情，友情、亲情都能比得上爱情，因为她们把对方刻在骨子里，要带上一辈子。

故事完结，曲终不离，而生活，还得继续！愿我们的青春，像她们一样美好，在这个炙热的夏天，开出一朵美丽娇艳的花。或许最后我们都应该说一句:I will always miss you like a darling .

初二（7）班

谢雨欣

 

第二篇：影评

The Insider' Movie Review

The Insider' Movie Review

It has been four years since the events depicted in Michael Mann's The Insider occurred. Actually, to be precise, it has been four years since some of them occurred. In the interests of drama, a certain amount of "fictionalization" has taken place. The incidents related here represent CBS News' blackest hour - a time when greed and bad judgment overcame journalistic integrity. A story for 60 Minutes compiled by correspondent Mike Wallace (played in the film by Christopher Plummer) and producer Lowell Bergman (Al Pacino) was killed when a potential lawsuit by tobacco giant Brown & Williamson threatened a buyout of CBS that would make a number of high-placed corporate executives very rich. The story, an interview with Jeffrey Wigand (Russell Crowe), a fired B&W corporate V.P. who had decided to blow the whistle on his former boss' lies to congress, created such a behind-the-scenes furor at the newsmagazine that the segment was ordered shelved. When The New York Times printed an expos?about what had happened, CBS News had egg on its face and was forced to re-consider the decision.

Wigand was removed from the B&W payroll in March 1993 because, in his words, "When I get angry, I have difficulty censoring myself and I don't like being pushed around." As a scientist, Wigand was deeply disturbed by the results of a study he ran, which showed that cigarettes are nothing more than "a delivery device for nicotine" and that the tobacco companies deliberately manipulate the levels of the drug in their product to promote addiction. He first met Bergman when the 60 Minutes producer was looking for an expert to translate industry-specific technical jargon. As the two spent time together, Bergman realized that Wigand knew an explosive secret, but was constrained from talking by a confidentiality agreement he had signed upon leaving B&W (the terms of which guaranteed his severance pay and continued medical coverage). Bergman, believing he knew a way around a breach of contract, offered Wigand the opportunity to be subpoenaed to testify in a Mississippi wrongful death class action lawsuit against the tobacco companies. Once his testimony was a part of the public record, he could go on 60 Minutes to state his case. Even before Wigand agreed, he and his family became the targets of terroristic threats from anonymous sources. Eventually, Wigand's day to give a deposition arrived, but, after risking everything (including his marriage and the possibility of going to jail), he learned that 60 Minutes had decided to cut the interview, rendering his sacrifices moot. Wigand had been betrayed, Bergman had been hung out to dry, and the Court of Public Opinion would not hear the truth about the tobacco giants.

The Insider is like a play in two acts. The first half of the film centers on Wigand - his struggles with his conscience, his conflict with his former employers, his difficulty convincing his wife to understand and accept the sacrifices she was being forced to make, and his decision to damn the consequences and go forward. During this part of the movie, Bergman is clearly a supporting character. At just past the midway point, this changes, with Bergman moving into the spotlight and Wigand fading into the background. Bergman becomes Wigand's crusader - a fireball of righteous indignation screaming about violations of trust and journalistic integrity. Dividing the film in this manner results in a second half that feels fractionally off-center. Certainly, there's a great deal of intensity (and Pacino's not the only one to

supply it - both Bruce McGill and Christopher Plummer have powerhouse scenes), but the shift of the focus from Wigand to Bergman leaves a small vacuum that all of the great 60 Minutes behind-the-scenes machinations can't completely fill. During the film's first 80 minutes, when Wigand is in nearly every scene, Mann fashions a connection between the character and the audience. When Bergman later takes center stage and Wigand is relegated to the wings, The Insider's emotional core becomes blurred. We never feel for Bergman the way we do for Wigand, who has more on the line.

The Insider is arguably a little too long with a few too many minor subplots thrown in (such as one about the Unibomber). However, when the movie is on-target, which is most of the time, it is riveting. Mann generates tension without resorting to the boring stand-bys of shootouts and chase scenes. The actors play their roles as if there's something tangible on the line, and those performances heighten the level of suspense. The camerawork, by veteran cinematographer Dante Spinotti, uses frequent hand-held shots to help establish an edgy, uncertain tone. On one hand, the movie is about the corruption of a National Institution - how 60 Minutes, the paragon of newsworthiness, was pressured by financial considerations to cut a story. On the other hand, The Insider is about Wigand's courage - how the man took a stand and was betrayed by the people he expected to protect him. Those are the two faces of the movie's powerful and compelling drama, and both are handled expertly.

Pacino is at his intense best. This isn't a new kind of role for him - he's basically resurrecting Arthur Kirkland from ...And Justice for All - but the familiarity of the part doesn't limit his effectiveness. Russell Crowe, who typically plays a young, vital character, essays a weary man who is prematurely aging under the burden of integrity. With thinning, white hair and spectacles, Crowe looks far less imposing than he did in his most recent film, Mystery, Alaska, or in his U.S. breakthrough, L.A. Confidential. He presents Wigand as a nervous, uncommunicative character who gives his testimony almost timidly, but can be driven to brief, passionate outbursts. He and Pacino complement each other well.

Physically, Christopher Plummer bears only a passing resemblance to Mike Wallace, but the veteran actor manages a credibly mimicry of the newsman's mannerisms and vocal patterns. Plummer plays Wallace somewhat unsympathetically. He is shown to be afflicted with a large ego and is opportunistic, yet, in the end, he clearly views the phrase "journalistic integrity" as more than a buzzword. Plummer has a single standout scene - Wallace goes into a towering rage after some of his on-air comments have been excised from a broadcast. ("You think you can edit me?!") Other credible supporting performances are given by Diane Verona (as Wigand's wife), Bruce McGill (who has a small, but powerful, part as an attorney in the tobacco suit), and Colm Feore (as another lawyer).

Unlike Mann's previous outing, Heat, where the first on-screen meeting between Pacino and Robert DeNiro overshadowed everything and gave the proceedings a ponderous, portentous air, The Insider remains well grounded. To be sure, the film tackles some big issues, but Mann never permits any of these "shock" revelations (which really aren't all that shocking) to eclipse the fact that the characters, not the

concepts, hold our interest; everything else is of secondary importance. The result is a compelling and engaging motion picture that weds the tautness of a thriller with the depth and impact of a drama.