Question

电影返老还童的读后感一篇,100单词左右

Answer 1

就是多了点！呵呵!!!

返老还童》描述的是男主角一出生，生理状态就处于老年期，一个小小的婴儿长满了皱纹，很虚弱，他的母亲由于难产而逝世，他父亲视他为怪物，将他放在了一个收容所门口，他被一个好心的女人收养，并视其如宝。整部电影记录的是他成长过程中的所见所闻，感情生活以及他身体的变化状况。男主角本杰明的成长状况违反自然规律，与常人相反，年幼时的他身体状况犹如年迈的老人，随着年龄的增长，越长越年轻，皱纹也越来越少，到最后逝世时又回到了婴儿状态。这突然使我想起电影中的一句对白，大概意思是“人离开人世时就如他来到世上时一样，孑然一生，不带任何东西”。电影由男女主人公的女儿读她父亲的日记开始揭开帷幕，贯穿整部电影主线以及高潮部分则是男女主角的感情生活。本杰明和女主角黛西自小认识，在分开生活以后又走到了一起，生下了女儿。由于本杰明的成长过程是与常人相反的，当黛西一天天变老的时候，他却一天天地年轻，为了不成为黛西的负担，在他女儿出生后不久，他把所有的财产留给了妻女后就离开了。这也是我最让我感动的情节。男女主人公的相遇相知仿佛两条相交线，相交的地方则是当男主角49岁时，女主角43岁，在外貌上比较相称，但这只是成长过程中的一中交叉，就如电影中主人公的对白“Something you will never forget”， 这就是人的感情吧。
两条相交线让我想到了很多，我们各自的一生中都有好多的相交线。例如我们常说的生命过程中的路人甲，或萍水相逢等，他们的生活跟我们的生活有那么一瞬间的交汇，有的时间长，有的时间短，也可以说是感情的冷暖变化速度的快慢吧，犹如两条交线的夹角，夹角越大，过了交点之后，两条线互相疏远的速度越快，就像相遇过后，不大熟悉的人感情变淡也越快。我们各自的那条线，已经跟无数人相交过，究竟有多少次，我们也不清楚；而与我们相遇过的人，他们的那条线又会跟其他人相交，如此循环下去，就出现了世界真小的想法，朋友的朋友可能是别人的朋友，而那个别人可能刚好又是我们的朋友。呵呵，自己想起来都有点晕，脑海中就是无数条线相互交叉着。当然也会有平行线的存在，就是我们不曾或永远都遇不上的人；那些伴我们一生的朋友或亲人，在我脑海中呈现的是两条互相缠绕的螺旋线。不知这样的比喻是不是出现了逻辑上的错误，如果有的话，请大家帮我指正。
好晕，无论如何，相遇的机会总是值得我们珍惜的…“Something you will never forget”.
电影中的其他一些情节也折射出了一些道理，这些道理大家都知道，但是却很少人可以做到。其中有个情节是这样的，一个拖船的船长，他的梦想是成为艺术家，但他却被他的父亲嘲笑，说他做白日梦，他只能跟他父亲一样去做拖船的，但他坚持了自己的梦想，自己亲手为自己纹身，让自己成为自己的艺术品，谁也无法夺走他的梦想。最后他在战争中被枪射中而离开人世，他最后的一句话是“你可以像疯狗那样对周围的一切愤愤不平，可以诅咒命运，…但是到了最后一刻…你还是得平静地放手而去”。
情节二，女主角曾经是一名非常优秀的芭蕾舞手，由于车祸，她再也无法继续她的芭蕾舞梦想。她一度失落，但最后还是坚强地接受了事实，并且为自己开辟了一片新的天地，成为了一名芭蕾舞教师。
最后，我想到的一个情节是电影中，电视里播的一个六十八岁的女人游泳渡过了英吉利海峡，完成了她年轻时的梦想，这个女人是本杰明曾经爱过的，她在与本杰明交往交流中，明白了自己应该做什么，她一直想改变自己的现状，而她的答案就是克服困难，坚持梦想。他们之间短暂的交往也再一次提醒了我们，我们生命中的过路人，很可能会给我们留下或让我们学到很重要的东西，感谢在我们生命中出现过的人。
无私，珍惜，坚强，坚持是我在这部电影中得到的体会，小女子才薄学浅，表达出来的也只是一些比较肤浅的见解，算不上什么真知灼见，相信各位观看完电影后会有更深刻的体会，欢迎各位互相交流，表达看法。

Answer 2

有是有，就是很多，你自己摘一部分有用的吧！
The Curious Case Of Benjamin Button

Fable about a man who is born old and grows younger over time starring Brad Pitt, Cate Blanchett and directed by David Fincher
We begin at the end. Daisy (Cate Blanchett) is on her deathbed, attended to by her daughter Caroline, played by Julia Ormond. In Daisy's bag, there is a diary that once belonged to Benjamin Button. She asks her daughter to read it, and Brad Pitt's narration takes us back to the night of Button's birth, the end of the First World War, when he emerged into the world a wizened old baby.
They say that short stories make the best films. Rudyard Kipling's 'The Man Who Would Be King' barely covers three pages. The Curious Case Of Benjamin Button was a short story by F Scott Fitzgerald, a great American writer whose tortured, beautiful, boozy novels have never made an easy transition to Hollywood cinema: not one of the three adaptations of 'The Great Gatsby' are fondly remembered. From Fitzgerald's conceit of a man born old and growing younger with every passing year, director David Fincher, screenwriters Eric Roth and Robin Swicord, and the cast grow an epic film about life and death, regret and perfection.
Screenwriter Roth has been here before. His Forrest Gump was also a journey through the American century in the company of an extraordinary man with a simple heart. And like Gump, Benjamin Button has a host of Oscar nominations. Is it Gump 2? No. Death saves it from that fate.
After his birth, the wizened baby Button is abandoned by his father on the doorstep of an old people's home run by Queenie (Taraji P Henson). Queenie's difficulty in conceiving means she takes in the malformed infant on her doorstep without a second thought. The old people's home is the last stop on the way to the grave, a suitable setting for Benjamin's wrinkled childhood. People will always pass him by as he reverses along time's one-way street. Among the nearly dead, youth appears in the form of Daisy, the granddaughter of a resident who strikes up a friendship with the child-like old man.
Daisy grows up and moves to New York to be a ballet dancer, falling in with a bohemian crowd. Benjamin becomes a sailor on a tug boat. For a moment, their contrasting lives - her's artistic and beautifully pretentious, his one of honest toil and old manners - threatens a reprise of Forrest Gump's and Jenny's relationship which so polarised audiences. Gump's love failed to leap across the divide of America's culture wars, in which Jenny's sweet self came a cropper in the decadence of the 1960s - the era that conservative America regards as the point of decline, as opposed to liberal America's idolisation of the era as one in which suffocating hypocrisy and moral evils were swept away. For Benjamin and Daisy, the 1960s is the sweet spot at which her ageing and his "youthing" meet in the middle, the only time they can come together as equals.
Throughout the tale, we return to Daisy on her death bed in New Orleans. Outside the hospital window, Hurricane Katrina gathers force. In this narrative frame, Daisy's features are bald and sunken, one gnarled hand scratches at her chest. Cancer is adding the final touches to its grim portrait. Her thoughts are morphine-loose and drifting back over the life she shared with Benjamin.
Even though the film has been shot in a palette that goes from Oscar caramel to airbrushed dusk, the lush classic

Hollywood aesthetic of the tale is offset by this grim frame. Benjamin may be a sweet outsider but he is no 'GumpJesus' - neither saviour nor redeemer, he is on the outskirts of history. Where Gump was digitally dropped into famous newsreels, Button's life is a footnote to big events.
We are spared the familiar pinch points of the American century -no hippies, no civil rights, and when Pearl Harbor is bombed, Benjamin is drinking in a bar. Instead Hollywood icons summon periods, most ravishingly when Benjamin goes through his Steve McQueen phase in the 1960s. As he gets progressively younger, the digital make-up recapitulates Brad Pitt's own iconography: Benjamin grows to look like J.D. in Thelma &

Louise.
Benjamin's journey against the tide is a picaresque one, taking in marvellous diversions. In a hotel in the Russian

port of Murmansk, he conducts dead of night liaisons with a diplomat's wife, Elizabeth Abbot. Tilda Swinton plays her with the high cheekbones, sophisticated hauteur and barely-suppressed longing that recalls both Billy Wilder's worldly heroines and Celia Johnson's duty-bound Englishness, a brute matter-of-factness concealing abnegated desires that only emerge in the witching hour.
One fascinating interlude among many, the film's looping narrative arcs gives you the sense you could almost live in it - the epic David Lean-inspired framing encourages further immersion. Fincher and his team's technical achievement in integrating the digital make-up within a lush but grounded reality is considerable. The actors do interesting work with their characters at different points in their respective lives. Around Brad Pitt's still, emotionally simple Benjamin, Cate Blanchett, Tilda Swinton and Taraji P Henson bring layered,inspiring,intriguing performances.
Verdict
An unusual conceit brilliantly executed. A moving work of golden fantasy poised just above the dark waters of our own mortality.