谁能帮我写一篇《魂断蓝桥》英文观后感，1
这并不只是个长一点的名字、代号，而是我最美的三年消逝的地方。-
应该算是个好学生吧，虽然从未有过朝九晚五，从未钻在书山和题海里翻越或是潜游，偶尔还会泡吧玩游戏，和学习不突出的小孩们混在一起，仍然可以算是好学生吧。
一直想找个时间好好怀念一下，怀念一下我的初中生活，怀念一下那些人和那些事，但也一直找着理由搪塞自己，没时间，功课紧，以及所有所有可以用的理由。
其实，也算是不敢吧。
毕竟这几年，事也不少。
交过不少朋友。
开始和原来一个小学的小孩混在一起，然后和猛猛在一起，然后和李姐在一起，然后和燕和康康和臻子和元宵和小静和业业在一起，还有和门长在一起。
中途还有比较好的男生，和流畅和马鸣远和张旭和PAPA，有一阵和祁钰，还一直和郝宇，最后和刘磊，关系都不错。
和其他人也都不错。
也有过几个女女同时喜欢一个男生的时候。
也有过暗恋别人的时候。
也有过被别人喜欢的时候。
可是到头来，才发现，还是朋友最重要。
我说过，天底下男人多得是，朋友可没那么好找。
还是朋友最重要。
不知道该对我们的分开感叹什么。
魂断蓝桥英文观后感400字左右的
魂断蓝桥观后感（两个版本）：
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Waterloo Bridge (1940)
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This film is one of a tiny handful which, despite repeated viewings, I would award a vote of ten out of ten. Not because it's a great cultural classic studied in hushed tones by post-graduate students (for all I know this may be so, but I've never heard of it), but because it succeeds entirely and seamlessly in what it sets out to do.
'Waterloo Bridge' is one of those rare films that never seems to strike a false note or put a foot wrong. There is not a wasted moment in the screenplay -- every shot has meaning, every scene plays its part -- and the dialogue gains its power through the lightest of touches. The single scene that brings me to tears every time is that brief, banal interview in the café, with the dreadful unknowing irony of every word Lady Margaret says.
Yet for an avowed tear-jerker, and one that centres around wartime separation and hardship, in an era where unemployment could mean literal starvation, the film contains perhaps more scenes of unalloyed happiness than any modern-day romance. The script is understated, sparkling with laughter and even at its darkest salted with black jest, while no-one can doubt the central couple's joy in each other. They themselves acknowledge, and repeatedly, the sheer implausibility of their romance: but war changes all the rules, makes people -- as Roy says -- more intensely alive. (The actor David Niven, for one, married an adored wife in wartime within days of their first meeting.)
As Myra Lester, Vivien Leigh has seldom given a more lovely or accomplished performance. There is a world of difference between her depiction of the sweet-faced innocent who is mistaken for a school-girl at the start of the film and the sullen, worn creature who saunters through Waterloo Station... and then is miraculously reborn. Myra's face is an open book, and Leigh shows us every shade of feeling. In a reversal of expectations, she is the practical, hesitant one, while Roy, older, is the impetuous dreamer; a role in which Robert Taylor is both endearing and truly convincing. I find few cinematic romances believable, but for me this lightning courtship rings utterly true in every glance or smile that passes between them, from the moment they catch sight of each other for the second time.
Virginia Field also shines as Myra's friend, the hardbitten ex-chorus-girl Kitty, while C.Aubrey Smith provides sly humour as an unexpectedly supportive Colonel-in-Chief and Lucille Watson is both stately and sympathetic as Lady Margaret. But this is really Vivien Leigh's film, with Taylor's more than able aid, and she is transcendent.
'Waterloo Bridge' has a touch of everything: laughter, tears, tension, misunderstanding, sweetness, beauty and fate. It couldn't be made in today's Hollywood without acquiring an unbearable dose of schmaltz; in the era of 'Pretty Woman' it probably couldn't be made at all. But of its kind it is perfect. The only caveat I'd make, under the circumstances a minor one, is that -- as again in 'Quentin Durward' fifteen years later -- Robert Taylor's lone American accent in the role of a supposed Scot is from time to time obtrusive.
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Waterloo Bridge (1931)
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The picture kicks off the Roxie's seven-day festival, Hollywood Before the Code, featuring 14 films made before the Production Code's clampdown in 1934.
Waterloo Bridge is prime pre- Code material. It stars Mae Clarke as Myra, an American chorus girl who's stranded in London when her show closes at the start of World War I. She slides into prostitution, standing on Waterloo Bridge as the soldiers spill out from Waterloo Station.
If Clarke is remembered today, it's for getting hit in the face with a grapefruit by James Cagney in The Public Enemy. But Waterloo Bridge reveals her to have been an exceptional actress.
Her Myra is all bitterness -- but with just enough hope to drive herself crazy. She's completely different from the angelic ballerina Vivien Leigh played in the 1940 remake.
Whale opens Waterloo Bridge with a shot of a stage show, a happy vision of white dresses. Then he cuts to shots of individual chorines, who look coarse and worldly. Myra is in the midst of this display -- and then a couple of scenes later, she's on the street.
The odd, sad romance at the heart of Waterloo Bridge is between Myra and a naive American soldier (Kent Douglas) she meets during an air raid. Clarke shows both the unguarded young woman Myra could easily be as well as her self-protective determination to stay hard-boiled.
At one point, Myra throws him out of her room, saying she needs some sleep. And then, in a long close-up, we see her reflection in the mirror as she puts on her hat and lipstick, preparing to go back out. The transformation is pure cinema. Clarke reconciles Myra's conflicted and contradictory impulses in a brave portrait of a woman in torment. Myra believes herself to be trash and she's wrong -- just as the soldier's mother
believes herself to be kindly, when she's merely cruel in a gentle way.
Though based on a stage play (by Robert E. Sherwood), the picture has Whale's visual flair. Even the rear-projection shots of searchlights panning the sky seem more intentionally artful than artificial.
The Roxie's showing will be the first public screening of Waterloo Bridge on the West Coast, outside a film archive, in about 60 years. Audiences who were touched by the courage and vulnerability of Elisabeth Shue in Leaving Las Vegas are likely to take to Clarke, Shue's spiritual godmother.
