电影观后感英文演讲

One True Thing 真情无价

Ellen Gulden is an ambitious young writer working for a New York-based magazine. When the film opens, it's 1988, and Ellen is being questioned in connection with the death of her mother. Kate Gulden (Streep), a beloved member of a small upper New York state community, died in her sleep at the age of 48. At the time, she was suffering from advanced, terminal cancer, but the cause of death was a morphine overdose. Also under suspicion is Kate's husband, George (Hurt), a local college professor.

The story gradually evolves in flashback, showing Ellen's sometimes-contentious relationship with her mother and her unswerving devotion to her father. When Kate's condition is diagnosed, George pleads with Ellen to quit her job and come home to help around the house. Apparently, George is too busy at work, Ellen's younger brother, Brian (Tom Scott Everett), is away at college, and a nurse "won't do." Somewhat resentfully, Ellen agrees to return to the nest. Soon, she finds herself losing her own identity as her mother's lifestyle swallows her up.

One True Thing is based on a novel by Anna Quindlen, and director Carl Franklin (Devil in a Blue Dress) has chosen to model the movie as a tearjerker, albeit a superior one. There are plenty of moments of sentimental melodrama (making Kleenexes a mandatory accessory), but there are also instances of surprisingly keen character insight. Although George, Kate, and Ellen start out as stereotypes, they quickly evolve beyond that baseline level. Ellen is like a wounded animal, lashing out in all directions, seeking a target. George's self-assurance is a carefully-constructed illusion. And Kate is all too aware of what's going on around her. "There's nothing that you know about your father that I don't know -- and better," she tells her daughter at one point. The relationships between these individuals are suitably complex; there are no clear-cut boundaries separating love, admiration, and resentment. And the issue of euthanasia is handled sensitively and intelligently, without the film makers getting on a pulpit to preach down to us.

Ellen Gulden is an ambitious young writer working for a New York-based magazine. When the film opens, it's 1988, and Ellen is being questioned in connection with the death of her mother. Kate Gulden (Streep), a beloved member of a small upper New York state community, died in her sleep at the age of 48. At the time, she was suffering from advanced, terminal cancer, but the cause of death was a morphine overdose. Also under suspicion is Kate's husband, George (Hurt), a local college professor.

The story gradually evolves in flashback, showing Ellen's sometimes-contentious relationship with her mother and her unswerving devotion to her father. When Kate's condition is diagnosed, George pleads with Ellen to quit her job and come home to help around the house. Apparently, George is too busy at work, Ellen's younger brother, Brian (Tom Scott Everett), is away at college, and a nurse "won't do." Somewhat resentfully, Ellen agrees to return to the nest. Soon, she finds herself losing her own identity as her mother's lifestyle swallows her up.

One True Thing is based on a novel by Anna Quindlen, and director Carl Franklin (Devil in a Blue Dress) has chosen to model the movie as a tearjerker, albeit a superior one. There are plenty of moments of sentimental melodrama (making Kleenexes a mandatory accessory), but there are also instances of surprisingly keen character insight. Although George, Kate, and Ellen start out as stereotypes, they quickly evolve beyond that baseline level. Ellen is like a wounded animal, lashing out in all directions, seeking a target. George's self-assurance is a carefully-constructed illusion. And Kate is all too aware of what's going on around her. "There's nothing that you know about your father that I don't know -- and better," she tells her daughter at one point. The relationships between these individuals are suitably complex; there are no clear-cut boundaries separating love, admiration, and resentment. And the issue of euthanasia is handled sensitively and intelligently, without the film makers getting on a pulpit to preach down to us.