求一个国外mv的英文评论
发布网友
发布时间：2022-05-12 04:17
共1个回答
热心网友
时间：2023-11-11 11:07
More About This Movie
Overview Tickets & Showtimes New York Times Review Cast, Credits & Awards Readers' Reviews (32)Trailers & ClipsView Clip...Skip to next paragraph
Skip to next paragraph
Multimedia
Audio Slide Show
Making a Millionaire
Related
Extreme Mum, Without Bollywood’s Filtered Lens (November 16, 2008)
Mr. Boyle, who first stormed the British movie scene in the mid-1990s with flashy entertainments like “Shallow Grave” and “Trainspotting,” has a flair for the outré. Few other directors could turn a heroin addict rummaging inside a rank toilet bowl into a surrealistic underwater reverie, as he does in “Trainspotting,” and fewer still could do so while holding onto the character’s basic humanity. The addict, played by Ewan McGregor, emerges from his repulsive splish-splashing with a near-beatific smile (having successfully retrieved some pills), a terrible if darkly funny image that turns out to have been representative not just of Mr. Boyle’s bent humor but also of his worldview: better to swim than to sink.
Swimming comes naturally to Jamal (the British actor Dev Patel in his feature-film debut), who earns a living as a chai-wallah serving fragrant tea to call-center workers in Mum and who, after a series of alternating exhilarating and unnerving adventures, has landed in the hot seat on the television game show “Who Wants to Be a Millionaire.” Yet while the story opens with Jamal on the verge of grabbing the big prize, Simon Beaufoy’s cleverly kinked screenplay, adapted from a novel by Vikas Swarup, embraces a fluid view of time and space, effortlessly shuttling between the young contestant’s past and his present, his childhood spaces and grown-up times. Here, narrative doesn’t begin and end: it flows and eddies — just like life.
By all rights the texture of Jamal’s life should have been brutally coarsened by tragedy and poverty by the time he makes a grab for the television jackpot. But because “Slumdog Millionaire” is self-consciously (perhaps commercially) framed as a contemporary fairy tale cum love story, or because Mr. Boyle leans toward the sanguine, this proves to be one of the most upbeat stories about living in hell imaginable. It’s a life that begins in a vast, vibrant, sun-soaked, jampacked ghetto, a kaleidoscopic city of flimsy shacks and struggling humanity and takes an abrupt, cruel turn when Jamal (Ayush Mahesh Khedekar), then an exuberant 7, and his cagier brother, Salim (Azharuddin Mohammed Ismail), witness the murder of their mother (Sanchita Choudhary) by marauding fanatics armed with anti-Muslim epithets and clubs.
Cast into the larger, uncaring world along with another new orphan, a shy beauty named Latika (Rubina Ali plays the child, Freida Pinto the teenager), the three children make their way from one refuge to another before falling prey to a villain whose exploitation pushes the story to the edge of the unspeakable. Although there’s something undeniably fascinating, or at least watchable, about this ghastly interlude — the young actors are very appealing and sympathetic, and the images are invariably pleasing even when they shouldn’t be — it’s unsettling to watch these young characters and, by extension, the young nonprofessionals playing them enact such a pantomime. It doesn’t help even if you remember that Jamal makes it out alive long enough to have his 15 televised minutes.
It’s hard to hold onto any reservations in the face of Mr. Boyle’s resolutely upbeat pitch and sective visual style. Beautifully shot with great sensitivity to color by the cinematographer Anthony Dod Mantel, in both film and digital video, “Slumdog Millionaire” makes for a better viewing experience than it does for a reflective one. It’s an undeniably attractive package, a seamless mixture of thrills and tears, armchair tourism (the Taj Mahal makes a guest appearance ring a sprightly interlude) and crackerjack professionalism. Both the reliably great Irrfan Khan (“A Mighty Heart”), as a sadistic detective, and the Bollywood star Anil Kapoor, as the preening game-show host, run circles around the young Mr. Patel, an agreeable enough if vague centerpiece to all this coordinated, insistently happy chaos.
In the end, what gives me reluctant pause about this bright, cheery, hard-to-resist movie is that its joyfulness feels more like a filmmaker’s calculation than an honest cry from the heart about the human spirit (or, better yet, a moral tale). In the past Mr. Boyle has managed to wring giggles out of murder (“Shallow Grave”) and addiction (“Trainspotting”), and invest even the apocalypse with a certain joie de vivre (the excellent zombie flick “28 Days Later”). He’s a blithely glib entertainer who can dazzle you with technique and, on occasion, blindside you with emotion, as he does in his underrated children’s movie, “Millions.” He plucked my heartstrings in “Slumdog Millionaire” with well-practiced dexterity, coaxing laughter and sobs out of each sweet, sour and false note.
