有谁知道哪儿可以买到英文版的《肖申克的救赎》书
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发布时间：2022-04-24 15:57
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时间：2023-10-20 23:04
粘贴过来不知道怎么就不能分段
如果要分段的话可以联系我ybillse@163.com
The Shawshank Redemption (1994) is an impressive, engrossing piece of film-making from director/screenwriter Frank Darabont who adapted horror master Stephen King's 1982 novella Rita Hayworth and Shawshank Redemption (first published in Different Seasons) for his first film. The inspirational, life-affirming and uplifting, old-fashioned style Hollywood proct (resembling The Birdman of Alcatraz (1962) and Cool Hand Luke (1967)) is a combination prison/dramatic film and character study. The popular film is abetted by the golden cinematography of Roger Deakins, a touching score by Thomas Newman, and a third imposing character - Maine's oppressive Shawshank State Prison (actually the transformed, condemned Mansfield Ohio Correctional Institution). Posters for the film illustrate the liberating, redemptive power of hope and the religious themes of freedom and resurrection, with the words: "Fear can hold you prisoner, Hope can set you free." Darabont's film is a patiently-told, allegorical tale (unfolding like a long-played, sometimes painstaking, persistent chess game) of friendship, patience, hope, survival and ultimate redemption by the time of the film's finale. It was nominated for seven Academy Awards, including Best Picture, Best Actor (Morgan Freeman), Best Adapted Screenplay, Best Cinematography, Best Editing, Best Original Score, and Best Sound - but it failed to win a single Oscar. And the film's director failed to receive a nomination for himself! In the prologue before the film begins and pre-title credits play, a scratchy car radio (on the soundtrack) plays the song: "If I Didn't Care" performed by the Inkspots: If I didn't care, more than words can say,If I didn't care, would I feel this way,If this isn't love, then why do I thrillAnd what makes my head go round and roundWhile my heart stands still... To economically compress events ring the credits sequence, a scene outside a cabin is intercut with a courtroom trial scene. [The year is 1946] A car is parked outside a cabin [belonging to a golf pro engaged in an affair with an alterous wife]. During a dark, quiet night in the wooded area near the cabin, a driver (the woman's husband) reaches for his oily, rag-wrapped gun in the glove compartment where bullets are also concealed. To fortify himself, he takes a swig of bourbon from a glass bottle. In the courtroom, the driver is identified as Andy Dufresne (Tim Robbins). He is interrogated by the D.A. (Jeffrey DeMunn) and charged with murder: "Mr. Dufresne, describe the confrontation you had with your wife the night that she was murdered." The well-dressed, mild-mannered defendant calmly speaks: "It was very bitter. She said she was glad I knew, that she hated all the sneaking around. She said she wanted a divorce in Reno...I told her I would not grant one." The D.A. rephrases Andy's response with his actual words: "'I'll see you in Hell before I see you in Reno.' Those were the words you used, Mr. Dufresne, according to the testimony of your neighbors." Obviously, Andy's wife (Renee Blaine) was having an affair with Glenn Quentin (Scott Mann), the golf pro at the Snowdon Hills Country Club. According to Andy, he felt confused and drunk, loaded his gun with bullets, but then after quickly "sobering up," he had second thoughts. On his way home, according to his testimony: "...I stopped and I threw my gun into the Royal River." The next morning, the bullet-riddled bodies of Andy's wife and her lover - in bed - were discovered. Andy's "very convenient" testimony and unbelievable profession of innocence, coupled with the fact that "the police dragged that river for three days and nary a gun was found," seem rather suspicious to the D.A. The water washed away all evidence of his innocence. His closing summary to the jury, illustrated with a brief flashback-montage of the alterous couple's passionate lovemaking, points to Andy's undeniable guilt: We have the accused at the scene of the crime. We have footprints, tire tracks. We have bullets strewn on the ground which bear his fingerprints. A broken bourbon bottle, likewise with fingerprints. And most of all, we have a beautiful young woman and her lover lying dead in each other's arms. They had sinned. But was their crime so great as to merit a death sentence?...A revolver holds six bullets, not eight. I submit that this was not a hot-blooded crime of passion. That, at least, could be understood if not condoned. No - this was revenge of a much more brutal and cold blooded nature. Consider this. Four bullets per victim. Not six shots fired but eight. That means that he fired the gun empty and then stopped to reload so that he could shoot each of them again. An extra bullet per lover, right in the head. The "icy and remorseless" man is sentenced by the Maine judge (John Horton) to "serve two life sentences back to back - one for each of your victims." The gavel marking the sentence pounds the screen to black. The next scene commences with noisy, iron bars sliding open, and another door opening into a room where five men sit at a table. An unexpected scene, this is the parole hearings room of maximum-security Shawshank Prison, where a black prisoner/lifer (#30265) named Ellis Boyd "Red" Redding (Morgan Freeman), after serving twenty years of his sentence, receives his cursory annual review [in the year 1947]: Reviewer: You feel you've been rehabilitated?Red: Oh, yes sir. Absolutely, sir. Yeah, I've learned my lesson. I can honestly say that I'm a changed man. I'm no longer a danger to society. That's the God's honest truth. A mechanical stamp marks "REJECTED" in red ink on his parole records. In the prison's exercise yard following the "same ol' s--t" review, Red begins his ubiquitous voice-over narration (of his recollections) - a voice-over that continues for the remainder of the film. He is the prison's respected retriever: There must be a con like me in every prison in America. I'm the guy who can get it for you. Cigarettes, a bag of reefer if that's your thing, a bottle of brandy to celebrate your kid's high school graation, damn near anything within reason. Yes sir, I'm a regular Sears and Roebuck. Prison sirens blast as a ritualistic prison event is heralded - the arrival of fresh, new prisoners in a drab-gray school bus. Red recollects back: "So when Andy Dufresne came to me in 1949 and asked me to smuggle Rita Hayworth into the prison for him, I told him - 'No problem.'" A well-orchestrated, helicopter/aerial shot moves up from the arriving bus, ascends the main tower of the prison, and peers down into the prison courtyard where ant-like prisoners scurry toward the fenced-in arrival area to gawk and jeer while the new arrivals disembark: Andy came to Shawshank Prison in early 1947 for murdering his wife and the fella she was bangin'. On the outside, he'd been vice-president of a large Portland bank. Good work for a man as young as he was. Andy, dressed conspicuously in his banker's suit, is seated in the back of the bus. As the bus turns the corner into the prison, there are five blue-uniformed guards waiting there - the chief captain of the guard, Byron Hadley (Clancy Brown) motions the bus into position. Chained together, the prisoners exit from the bus, walk in single-file, and are lined up for inspection. Andy appears tormented and terrified as he nervously walks into his new surroundings while surrounded by shouting spectators who shake the fence. The old-timer inmates bet "smokes" on the new 'horses' and who will break first - Floyd (Brian Libby) bets on "that little sack of s--t...eighth from the front, he'll be first." Heywood (Bill Sadler) chooses "that chubby fat-ass there, the fifth one from the front." Red votes for Andy ("that tall drink of water with a silver spoon up his ass") at the end of the line: I must admit, I didn't think much of Andy first time I laid eyes on him. Looked like a stiff breeze would blow him over. That was my first impression of the man. Andy glances up at the imposing walls above him - walls that will close in on his life - as he is marched in. In an admitting area, the prisoners meet Mr. Samuel Norton (Bob Gunton), the self-righteous, Bible-carrying Warden: You are convicted felons. That's why they sent you to me. Rule Number One: No blasphemy. I'll not have the Lord's name taken in vain in my prison. The other rules you'll figure out as you go along. Hadley cusses right into the face of a disrespectful prisoner who has asked: "When do we eat?" The guard inhumanely jabs his baton into the gut of the man ("you maggot-dick motherf--ker!"). The Warden finishes his short, pompous introction: "I believe in two things - discipline and the Bible. Here you'll receive both. Put your trust in the Lord. Your ass belongs to me. Welcome to Shawshank." To remove all vestiges of their identity (or contamination) from the outer world, the new cons are made to undress, then hosed down in a steel cage with high pressure water spray, and deloused with scoops of white delousing powder. As part of their degrading processing, they are given prison clothes and a Bible, and marched exposed and naked to their indivial cells, their new homes in the cellblock - a three-tiered structure of concrete and steel. The first night's the toughest, no doubt about it. They march you in naked as the day you were born, skin burning and half blind from that delousing s--t they throw on you, and when they put you in that cell, when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye. Nothing left but all the time in the world to think about it. Most new fish come close to madness the first night. Somebody always breaks down crying. Happens every time. The only question is, who's it gonna be? It's as good a thing to bet on as any, I guess. I had my money on Andy Dufresne. I remember my first night. Seems like a long time ago. As part of their entertaining betting game, the inmates taunt and 't' the "fishees" or first-timers - and "they don't quit till they reel someone in." The one nicknamed 'Fat-Ass" (Frank Medrano) is mercilessly teased by Heywood: "This place ain't so bad. Tell ya what. I'll introce ya around. Make you feel right at home. I know a couple of big ol' bull queers that'd just love to make your acquaintance, especially that big white mushy butt of yours." When the squeamish, hyperventilating victim wails and pleads despairingly: "Oh God! I don't belong here! I wanna go home," the prisoners chant: "Fresh fish!" The oppressed Fat-Ass blubbers his complaints to Hadley and is beaten with an unceasing rain of baton blows and kicked in the face until he lies still on the cold floor. The captain of the guard commands his lackeys: "Call the trustees. Take that tub of s--t down to the infirmary." Red loses his cigarette bet to Heywood: His first night in the joint, Andy Dufresne cost me two packs of cigarettes. He never made a sound. The next morning after a head-count in front of their indivial cells in the cellblock, the prisoners are marched to the mess hall for breakfast. As Andy moves through the room, one of the 'bull queer' inmates named Bogs Diamond (Mark Rolston) gives him a salacious glance. As he begins eating a scoop of oatmeal on his metal tray, Andy picks out a squirming white maggot with his fingers. A neighboring, elderly inmate Brooks Hatlen (James Whitmore) inquires: "Are-are you going to eat that?" With everyone expecting that Brooks will eat the wiggling creature, he instead offers the "nice and ripe" maggot to a baby crow (named Jake) nestled in the inside pocket of his droopy blue sweater - he is its caretaker until it matures and flies away to freedom: "Fell out of his nest over by the plate shop. I'm gonna look after him until he's big enough to fly." Heywood gleefully gloats about winning the bet and collects cigarettes as payment from everyone: "I want 'em all lined up just like a pretty little chorus line." But his victory is won with a deadly toll and price for Fat-Ass - "Dead. Hadley busted his head up pretty good. Doc had already gone home for the night. Poor bastard laid there till this morning. By then, hell, there was nothing we could do." In the communal shower room, Bogs - one of the prison's Sisters, asks Andy a leading question: Hey, anybody come at you yet? Anybody get to you yet? Hey, we all need friends in here. I could be a friend to you. (Andy breaks away without responding) Hey, hard to get. I like that. Andy's assigned job is to work in the prison laundry room, where he "kept pretty much to himself at first. I guess he had a lot on his mind, trying to adapt to life on the inside. It wasn't until a month went by that he finally opened his mouth to say more than two words to somebody." While Red plays catch in the prison yard, Andy ("the wife-killing banker") ambles over to break the month-long silence:
