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nmrShort of climbing aboard a time capsule and peeling back eight and one-half decades, James Cameron's magnificent Titanic is the clost any of us will get to walking the decks of the doomed ocean liner. Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it -- from the launch to the sinking, then on a journey two and one-half miles below the surface, into the cold, watery grave where Cameron has shot never-before en documentary footage specifically for this movie.
儿童节英文In each of his previous outings, Cameron has pushed the special effects envelope. In Aliens, he cloned H.R. Giger's creation dozens of times, fashioning an army of nightmarish monsters. In The Abyss, he took us deep under the a to greet a band of benevolent space travelers. In T2, he introduced the morphing terminator (perfecting an effects process that was pioneered in The Abyss). And in True Lies, he ud digital technology to choreograph an in-air battle. Now, in Titanic, Cameron's flawless re-creation of the legendarbarrel
y ship has blurred the line between reality and illusion to such a degree that we can't be sure what's real and what isn't. To make this movie, it's as if Cameron built an all-new Titanic, let it sail, then sunk it.
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Of cour, special effects alone don't make for a successful film, and Titanic would have been nothing more than an expensive piece of eye candy without a gripping story featuring interesting characters. In his previous outings, Cameron has always placed people above the technological marvels that surround them. Unlike film makers such as Roland Emmerich and Dean Devlin, Cameron has ud visual effects to rve his plot, not the other way around. That hasn't changed with Titanic. The picture's spectacle is the ship's sinking, but its core is the affair between a pair of mismatched, star-crosd lovers.
Titanic is a romance, an adventure, and a thriller all rolled into one. It contains moments of exuberance, humor, pathos, and tragedy. In their own way, the characters are all larger-than- life, but they're human enough (with all of the attendant frailties) to capture our sympathy. Perhaps the most amazing thing about Titanic is that, even though Camer
on carefully recreates the death of the ship in all of its terrible grandeur, the event never eclips the protagonists. To the end, we never cea caring about Ro (Kate Winslet) and Jack (Leonardo DiCaprio).
Titanic sank during the early morning hours of April 15, 1912 in the North Atlantic, killing 1500 of the 2200 on board. The movie does not begin in 1912, however -- instead, it opens in modern times, with a salvage expedition intent on recovering some of the ship's long-buried treasure. The expedition is led by Brock Lovett (Bill Paxton), a fortune hunter who is arching for the mythical "Heart of the Ocean", a majestic 56 karat diamond which reputedly went down with the ship. After eing a TV report about the salvage mission, a 101-year old woman (Gloria Stuart) contacts Brock with information regarding the jewel. She identifies herlf as Ro DeWitt Bukater, a survivor of the tragedy. Brock has her flown out to his ship. Once there, she tells him her version of the story of Titanic's ill-fated voyage.
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The bulk of the film -- well over 80% of its running time -- is spent in flashbacks. We pick
yny>汉堡包的英语怎么写up the story on the day that Titanic leaves Southampton, with jubilant crowds cheering as it glides away from land. On board are the movie's three main characters: Ro, a young American debutante trapped in a loveless engagement becau her mother is facing financial ruin; Cal Hockley (Billy Zane), her rich-but-cold-hearted fianc? and Jack Dawson, a penniless artist who won his third-class ticket in a poker game. When Jack first es Ro, it's from afar, but circumstances offer him the opportunity to become much clor to her. As the voyage continues, Jack and Ro grow more intimate, and she tries to summon up the courage to defy her mother (Frances Fisher) and break off her engagement. But, even with the aid of an outspoken rich women named Molly Brown (Kathy Bates), the barrier of class looms as a emingly-insurmountable obstacle. Then, when circumstances in the Ro/Cal/Jack triangle are coming to a head, Titanic strikes an iceberg and the "unsinkable" ship (that term is a testament to man's hubris) begins to go down.
By keeping the focus firmly on Ro and Jack, Cameron avoids one frequent failing of epic disaster movies: too many characters in too many stories. When a film tries to chroni
cle the lives and struggles of a dozen or more individuals, it reduces them all to cardboard cut-outs. In Titanic, Ro and Jack are at the fore from beginning to end, and the supporting characters are just that -- supporting. The two protagonists (as well as Cal) are accorded enough screen time for Cameron to develop multifaceted personalities.
As important as the characters are, however, it's impossible to deny the power of the visual effects. Especially during the final hour, as Titanic undergoes its death throes, the film functions not only as a rousing adventure with harrowing escapes, but as a testimony to the power of computers to simulate reality in the modern motion picture. The scenes of Titanic going under are some of the most awe-inspiring in any recent film. This is the kind of movie that it's necessary to e more than once just to appreciate the level of detail.
