雅思阅读辅导-电影《黄金三镖客》_雅思阅读.docx

智课网IELTS备考资料雅思阅读辅导:电影黄金三镖客_雅思阅读 英文版介绍： The film tells the story of three men who pursue, often at the expense of others, information about the location of a buried treasure of coins. The first character introduced in the movie is Tuco Benedicto Pacifico Juan Maria Ramirez (the Ugly) - called Tuco - (Eli Wallach), who has a bounty on his head for numerous crimes. Tuco has a partnership with Blondie (The Good, played by Clint Eastwood) in which the latter turns him in for the reward money which the two then split after Blondie saves Tuco from hanging at the last moment. Meanwhile, a third character called Angel Eyes (Lee Van Cleef, playing the Bad) has learned of a hidden trunk of gold owned by a Confederate soldier named Bill Carson. He sets off to find the gold. Soon, Blondie grows tired of his relationship with Tuco, and leaves Tuco in the desert with no water. Tuco survives and is intent on exacting revenge on his former partner. He finds Blondie, and turns the tables by planning to abandon him in the desert. However, before Tuco can complete his torture in the New Mexico desert, a runaway stagecoach full of dead and dying Confederate soldiers appears. Bill Carson, the man with knowledge of the whereabouts of the gold, dying from thirst, persuades Tuco to get him a drink by disclosing the name of the graveyard where the loot is located. As Tuco goes for the water, Carson dies, but not before revealing the name on the grave to Blondie. Dressed in the uniforms of the dead soldiers, Tuco takes Blondie, near death, to a local Catholic mission run by his brother, a priest. While Blondie recovers, Tuco and his brother (Luigi Pistilli) confront each other about the mistakes each has made in life. After leaving the mission, the two, still impersonating Confederate soldiers are captured and taken to a Union prison camp. Angel Eyes has followed the trail of Bill Carson to the prison camp and is posing as a Union Sergeant. Angel Eyes and his colleague Wallace beat and torture Tuco until he reveals the location of the cemetery. When Angel Eyes learns that only Blondie knows the name, he changes tactics. He proposes a partnership, and accompanied by five or six other killers, they leave to find the coins. Tuco escapes while being transported from the camp by train, in the process killing Wallace. At the nearest town, Tuco encounters a bounty hunter (Al Mulock) he had wounded at the beginning of the film, who seeks his revenge. As Tuco shoots the bounty hunter, Blondie, who is in the same town with Angel Eyes, recognizes the sound of Tucos gun, seeks him out, and he and Tuco resume their old partnership. Together they kill Angel Eyes gunmen along the main street, but Angel Eyes himself escapes. Tuco and Blondie stumble on a battle between the Union and the Confederates, fighting for a bridge of questionable strategic value. Since the cemetery is on the other side of the bridge, they decide to destroy it and force the soldiers go somewhere else to fight. While they are setting up the dynamite, Tuco reveals that the cemetery is called Sad Hill and Blondie reveals that the coins are buried in a grave marked by the name of Arch Stanton. On the other side of the river Tuco deserts Blondie by horseback and finally enters the nearby graveyard. Tuco frantically searches around the graveyard for the grave of Arch Stanton. Eventually Tuco finds it, but before he can begin digging hes held at gunpoint by Blondie, who in turn is held at gunpoint by Angel Eyes, who has finally caught up to both of them. However, Blondie reveals that Arch Stantons grave contains only a decomposing corpse. Blondie then leads the three of them into an empty patch of land in the middle of the cemetery. He writes the name of the real grave under a stone which he places in the center. At the conclusion of a three-way shootout, Blondie shoots Angel Eyes and Tuco finds his gun empty, having been unloaded the previous night by Blondie. Blondie then reveals that the real location of the coins is a grave marked Unknown right next to Arch Stanton. Tuco digs up the loot from the grave only to find himself once again staring down the barrel of Blondies gun, who now holds a noose in his hand. After placing Tuco into the noose, fastening it to a nearby tree and making Tuco stand on the unstable wooden cross of one of the graves, Blondie takes half the coins and rides away while Tuco cries for help. In a dramatic twist, Blondie turns around to shoot the rope above Tucos head, as he used to do in their times of partnership, freeing him one last time before riding off as Tuco screams in rage. 简 介 意大利西部片宗师瑟吉欧.莱昂内执导的镖客电影三部曲的完结篇，由克林特.伊斯特伍德、李.范.克里夫和伊莱.沃勒克分饰英文片名所指的好人、坏人和丑恶之人。三人在美国南北战争期间趁着政局混乱，打算谋夺一批属于南方政府的财富，但每个人只知道一部分藏金的细节，必须联合起来才可以取得全部的钱，于是三人既互相利用又勾心斗角，产生不少有趣的笑料和张力十足的戏剧性对峙。本片制作严谨，气派十足，具有同类娱乐片所有吸引人的元素，主角的演出和颜尼欧莫利克奈的配乐均令人难忘。 附文：镜头技术分析-古龙笔下的节奏善恶丑的终极决斗 影片善恶丑(THE GOOD,THE BAD AND THE UGLY)是意大利导演赛尔乔莱翁内(Sergio Leone)六零年代拍摄的赏金三部曲之一(另两部是为了几块钱和再多几块钱)。许多人不认为赛尔乔莱翁内是大师级导演，虽然他有那部让许多人爱煞的美国往事。他的为了几块钱抄黑泽明的保镖(用心棒)抄的一塌糊涂，关键处连机位都不带改的。以他为代表的“通心粉西部片” (Spaghetti Western)或多或少带着贬义。 这部善恶丑还是给我留下了深刻印象，除了偏爱恩尼奥莫里康第一以贯之的悠扬悦耳的音乐，从内容上来说更加复杂，涉及了南北战争的宏阔历史背景。人物性格也趋于丰富，特别是“丑的”这个角色极为成功。不过我在这里是尝试对片尾的决斗场面作一次纯粹的技术分析，电影学院把这叫做“拉片”(即拉胶片，没胶片可拉，咱就在dvd机上慢进吧)。影片接近结尾处，“善”(克林特伊斯特伍德主演)，“恶”和“丑”决斗，时间接近黄昏，地点是在一片环形墓地的中央，即一大片石子铺就的圆形广场。总长度接近5分钟，约450尺，共80个镜头。 自镜头1 到镜头14，“善”先走到广场中央，放下一颗石头，然后走到另一端，与“恶”和“丑”成犄角之势。其中有一些简单的场面调度，“恶”自右向左穿过“ 善”和“丑”之间，走到顶角位置，然后“丑”向右横移。镜头3 是个变焦急推，目的仅仅是对那块石头的强调。镜头8 是本段落里唯一的运动镜头，而且仅仅是个幅度很小的中景跟摇。到镜头15，是整个段落的总角度，确立三个人的位置和轴线关系，从此人和机器就都不再运动，完全依靠对节奏的掌控来推进。同时在这个镜头里，音乐也陡然增强，将决斗的紧张和肃杀气氛推向高潮。 我原以为会从镜头上强调“善”，比如镜头7 和9 的仰拍，一如我们的英雄人物。但是后来发现导演对待这三个人物基本是(至少从表面上)冷静而公平的，甚至还有厚此薄彼之嫌(后文提及)。比如镜头17、18、19 分别是三个仰拍，紧跟镜头20、21、22 分别是三个过肩全景，紧接着镜头23、24、2 分别是三个手和枪的特写。然而到了镜头27，又单独给了“善”一个仰拍。原来导演还是有态度的，只不过这种态度隐藏在一闪而过的镜头群里，不易发觉罢了。 从镜头17 到镜头77 这60 个镜头里，共给了“善”17 个镜头，给了 “丑”21 个镜头，给了“恶”22 个镜头，这似乎有点奇怪，作为正面英雄人物的“善”反而镜头数最少，含有“丑角”意味的“丑的”镜头数都比他多，“恶” 作为反一号，镜头数竟然最多!同样着力描写细节的手部特写，“善”仅仅给了2 次，“丑的”给了4 次，给“恶”手部特写竟然达到了11 次之多! 不过结合前后的剧情和演员的表演就会看出导演这样安排的用意，“丑”和“恶”都是在同时防范两个人，他们的眼神总是左顾右盼，他们的手指在轻微颤抖，镜头堆积的越多越能表现他们的紧张和色厉内荏。只有“善”知道“丑”枪里是没有子弹的，因为他预先作了手脚。他只需专心对付“恶”，因此他就是一副好整以暇的英雄风范，叼着半支雪茄，沉着中透着一丝不屑。镜头数量少恰恰起到了一种无处不在的“虚写”效果，这对于我们一拍英雄题材就“高大全”的中国导演是一个很好的启示。 全段的镜头节奏遵循着逐渐加快最终推向高潮的常规手法，大致可分为三个阶段。开始部分除了个别强调性的镜头，基本在4 至6 秒之间，连续两个远景的镜头15、16 以后，剪切频率明显加快。不过中间还是有几处延宕。比如镜头51、52“恶”连续的面部和手部特写分别长达6 秒(合9 尺胶片)，镜头57“恶”手部特写又足足给了6 秒，这种忽突还缩的节奏变化仿佛F1 方程赛车手在弯道的减速，孕育着更狂烈的风暴。 果然，从镜头61 到镜头76，被郁积的能量完全爆发出来，一连串令人眼花缭乱的如破风之竹般的快剪，而且无一例外都是局部的特写和大特写。短短的8 秒钟里竟然剪出 16 个镜头，平均每个镜头仅12 格。这在屏幕上充斥着广告和Music Video的今天也许对观众来说司空见惯，遥想当年恐怕还是很有视觉冲击力的。不过与今天我们的新派武侠片强调流动感的剪接风格不同，这里每一幅画面内部的动