《死者》是一部由约翰·休斯顿执导，安杰丽卡·休斯顿 / Donal McCann / 丹·奥赫里奇主演的一部剧情类型的电影，文章吧小编精心整理的一些观众的观后感，希望对大家能有帮助。
《死者》观后感(一)：非影评，乱感想
当看到都柏林三个字恍然是乔伊斯的名篇，都柏林人拿到手里过，其他十四篇全不记得，也许没看，唯一记忆的是死者，或者说只是一个片段，甚至在看过画像和尤利西斯之后，唯一让我触动和对乔伊斯保持敬意的仅仅是一个片段，那一个片段。然而这个电影没有唤起我的感触，或者说那种深度，整个电影是非常好的，前面铺垫，故事，铺排紧凑浑然，欢乐又平淡，完全是为高潮预设的，小说前面全不记得了，从记忆度来说，电影也许比小说出色，也许。但是，我期待的高潮来临的时候，却失望了。电影显得有些悲恸而内疚，伤心而痛彻心扉，不能说不对，但和我记忆是不一样的。
它应该是繁华尘世的一次游离，是智者对青春的一次缅怀，是春日一朵花的凋零，秋日一片叶的飘落，隐秘而低沉，清醒而伤怀。不是撕裂痛彻心扉，不是沉迷而深陷其中，好像是是那首古老的歌谣--歌谣很美，好像是别人的故事，不带现实的伤害，只是一种隐秘而至高的青春灼伤。这个故事没什么特别，一个死去的青春的恋人，但是我不知道为何如此让人记忆深刻，也许这就是乔伊斯伟大之处，也是电影让我失望之点，但总的来说很不错，还是改天重看下小说来对比下，也许更有趣。
《死者》观后感(二)：memory plays tricks
电影根据乔伊斯同名短篇小说改编，小说属于《都柏林人》的最后一篇。
原文读过两遍，乔伊斯的用词简洁、干净，篇幅非常之短，但细节丰富，值得细细体味。
比如，节奏。读文本时，乔伊斯的叙述冷静，他并不着急，而是慢慢呈现，阅读的节奏缓慢。而电影的镜头拉得飞快，场景、对话和音乐，一路超前涌来。
比如，叙事角度。小说从男主角的视角出发，着力于他的内心感受和心理的转变。而电影并不凸显某一角色，全景呈现，只在结尾处男主角采用monologue的方式说出心声，稍显突兀，男主角在聚会前、中、后的心理转变消失不见，而演员的表演并不能弥补。
再比如，配乐。读文本时，音乐是缺席的，读者无法耳闻钢琴曲，或者被推动剧情极为重要的歌曲而感动。而mr. darcy演唱的歌，使女主角想起已逝的初恋情人的歌，实在动听而感人。
女演员不合适角色。就我对文本的理解，女主角性格柔美，又因为是西部人，所有性格中带有乡野的活泼气。女演员却像一种“高贵的鸟类”，脖子长长，脸部线条冷峻，面无表情。但是她站在楼梯处倾听歌声的镜头，很美。黑裙，白纱，站在彩色玻璃窗前，极像圣母。
邀请了华西的一位科学家和我们一起观看电影，他极推崇乔伊斯和电影的导演。他说了两句话，我印象深刻。
一是，sometimes，knowledge is painful
一是，sometimes，memory plays tricks
作为一部电影，可谓平淡无奇
作为根据小说改编的电影，似乎又遗失了太多文本中的东西，比如细节，比如心理，比如节奏。
《死者》观后感(三)：不是美式英语才有卷舌
2016年1月1号，陪山羊去filmo看的片。
影院旁边坐着两个imbecil一直在叽叽喳喳的嚼舌，很是心烦，除此之外，对于这部电影还是很惊艳。
乔伊斯一直是我啃不动的作家之一，同类还有伍尔芙和普鲁斯特，甚至在广义地说还包括博尔赫斯和科塔萨尔这一干人。但是这类作家的文章通过电影有时会有好运，似乎通过电影的视听感加上演员的表演能力能把原著的难度降下来。之前看伍尔芙的《奥兰多》无感，但是看了Tilda Swinton的原名电影后就感觉亲近了许多，这次看John Huston的《死者》也是同样的经历。从2012年起，乔伊斯就一直列在书单里静候。都柏林也是一座长久以来呼唤着我的城市。只是一直没有机缘。
今天看这部片，故事其实很简单，不算有亮点：一个亲朋趴体，各式各样的宾客，一堆明里和睦暗里有戏的夫妇。看似混乱的晚宴引出了令女主思念旧人的歌，再尔引出女主年少时心仪的故人。如果按照剧本，这部片难以过关，但是妙在乔伊斯精良的文本和男女主恰切的演绎，令整个片子甚是拨动心弦。
我的结论就是把《都柏林人》找出来看看原著，看看是否有运气。：）
《死者》观后感(四)：都柏林人的面子
看這部電影的首先知道喬伊斯寫作的動機，否則會覺得寡然無味。由本片也可以感覺到喬伊斯的諷刺和福樓拜，奧斯丁的不同。福樓拜是讓人物命運自己呈現，奧斯丁是作為旁觀敘述時不時露出一點調調，讓讀者知道她的態度，喬老爺本片是由人物你來我往的交往來呈現。最顯著的就是晚宴中一個人朗誦了一首寫絕望，寫仿徨，寫生不如死的冷寂的詩，而後發出的感嘆都是beautiful之類，這讓朗誦者面面相覷，因為他們沒有一個人理解了這首詩！！！後來一個老婦人唱了一首詠嘆調，明明就是一個破落嗓子，感覺像傻豬似的嚎，唱完也是潮水般的讚美。這些人就是喬伊斯眼裡的都柏林人：虛榮，猥瑣，是為了面子，為了留在某個圈子的榮譽不惜違背自己的良心。裝逼犯在那裡都惡心人。劇中還有一個酒鬼，喬伊斯喜歡寫酒鬼，因為他的爸爸就是酒鬼，他從小深受其害，長大以後就不斷地在作品裏展現他們的醜陋。巴爾扎克也這樣，因為天天被法院追債，就在小說裏塑造一個邪惡的法官讓人唾棄。文人提供了報復的一種文明路勁。
《死者》观后感(五)：Apprehending Life and Death in Joyce’s and Huston’s The Dead
(Film Review of an selective course during my freshman year~突然发现如果是文科系学生的话可以很方便把课上的东西搬到豆瓣上来2333333)
The theme of “The Dead”, according to Steve Vineberg, is “lack of communication among people”, even with their most intimate partners (Vineberg 27). Whilst the main concern of it shall be more of further investigating the essence of life and death which both James Joyce and John Huston utilize their talent to demonstrate with different media. Though sharing the same title, the story and the film differentiate in their apprehension about life. Two masters express their own views on life, love and death with different emphasis, which can be lucidly seen from their artistic expression techniques.
First, Joyce is more concerned about setting details like mental activity corresponding with surrounding scenes and the use of symbols, but Huston’s film version deals roughly with characters’ delicate psychological changes and focuses more on gradual coherence. A typical case is that in both the film and the story, the festive gathering conveys that human’s inner isolation can only be concealed but will never overcome. Guests appear joyful and savour the bustling social interactions, whereas when the couple goes back after the feast, the hidden inside gloomy emotions flourish uncontrollably, with the dark night as the surroundings become vacant in the film. Lighting scheme emphasises the atmosphere, bringing a dead silence as shadows casted from the outside flowing upon the couple. Huston also employs montage to join the inside cab scene and the outside peaceful night street scene before dawn. Silence surges between Gabriel and Gretta, presenting desolation after a lively and extravagant gathering. Pitifully, the facial expression of Gabriel is still too tranquil to assume his inner thoughts.
Dissimilarly, the story begins primarily describing Gabriel’s rich thoughts and feelings, which in turn reflects his wife Gretta’s immersion into her own memories. In Joyce’s story the deｓｃｒｉｐｔion of environment, which is compatible with the narrative tone, implies the character’s feelings detailed. The joy of a winter Epiphany party is compressed into a solemn reflection when it comes to the falling snow, covering all life and death without prejudice. Even people’s lines are related to the weather and the environment, like the moment when Aunt Julia and Mary sent the couples out, they mention the Christmas snow. It’s clear that the adoption of a particular scenery possesses its symbolism.
And in the film adaptation Huston continues the technique of symbolisation yet not as obvious as in the form of literature. As for the ending scene, falling snow, the most essential symbol, presents distinctions between the two versions. Through Joyce’s words, Gabriel’s spiritual understanding appears a dead silence, more of mourning to his own life and love yet this emotion is compatible with the snow “pattern” outside. But Huston’s Gabriel begins his distinct monologue by entirely adopting Joyce’s ordinary narrative lines, which somehow more like expressing a poet’s perception.
otwithstanding the different artistic practices create two dissimilar Gabriel and trigger Joyce and Huston’s converse apprehension to life and death, an interesting phenomenon still worth mentioning is that Joyce was only 25 when he wrote the story, whereas Huston had already been a dying old man. There is no doubt that two people at such different ages must have also different comprehension of life and death, for the elder has been through more. Compared to the Joycean Gabriel, who has experienced great transformation of his mind and displays a primitive fear and frustration of death, Huston’s Gabriel behaves more calmly and peacefully without much evidence of fury or disappointment. It is clear that Huston’s tolerance about death arouses from his much elder age.
This detail also leads to another difference of expression techniques between the writer and the director. Huston adopts a complete third person perspective during the festive time, which topples the protagonist’s psychological changes, thus abandoning the Joycean narration which unveils the comprehension of death through Gabriel’s changing inner world. In the original story, Gabriel’s nervousness and anticipation before giving the speech is tirelessly narrated as if the reader can nearly walk into his mind. The film, nonetheless, tends to overlook Gabriel’s thinking and fluctuating emotions until the end. His thoughts can only be deduced from several close-ups on his face. Instead the audiences see more of a panorama of all beings. This may unfold the story more objectively and perceive the happiness of life as well as the inevitability of separation from a higher angle.
Moreover, some of the additions in the film adaptation “strengthen the epiphany structure”, which according to some is rather constrained and tedious, but in effect recuperate the relatively loose stream of consciousness technique if applied in the film (Singer 655). For instance, the adjunction of a guest’s singing for a lamentable love story, which cannot be found in the novella, actually articulates the rather tightless plots and conveys some poignant implications to the audience.
A typical success of Huston’s omniscient perspective is the annotation of “distance” in the film. Individuals’ pathetic forlornness deep inside makes the distance between life and death vague, and this potential factor is where the communication barrier really lies in the story. Distance between Gabriel and Gretta emphasises man’s inability to walk into each other’s heart, reflected as physical form “space” in the film when Gabriel gazes at his wife full-heartedly without her notice. Long depth of field creates an insurmountable gap between spirits. Even the most intimate couples are not exclusive. Though Gabriel seems close to his wife physically, her spirit is far away from him, as Gretta’s emotions is dominated by the dead young lover of her at the exact moment. This crucially and brutally reveals a truth of life and death that sometimes the dead can be much closer to a living man than those alive who are still round his or her. Physical distance stands for nothing, and what really matters is spirit distance, which can even reverse the length of the distance between the living and the dead and that among the livings. In Joyce’s story, furthermore, through describing characters’ moods, their many-year marriage turns on its fragile aspect for “a sudden tide of joy went leaping out of its heart” (Joyce 42).
The simplest emotional contagion to people is still music, an indispensable element, employed not just in the cinema but in the literary work as well. The “textual music” in the story creates a real mental silence, which is beyond the superficial silence of contemplating death requiring “the synthesis of sound and image” (Meljac 295). Every word in the story corresponds with the outer setting of the falling snow, integrating a silent music between lines which mourns the dead and cheers for the living, as all the attenders of the party eventually stand up to sing for themselves. Huston deciphers Joyce’s silent music into classic piano sounds, penetrating all through the dancing party. It grows to halt when Gabriel and his wife are in the cab, when both of them are immersed in their wholly converse meditations. When Gretta confesses her grief for young Michael and her early admiration, she cries without music. Beautiful melodies in the film are devoted to delightful waltz and lovely party times, as a result, when Gretta’s sobbing continues mundanely in the dark night, a feeling of returning to reality abruptly seizes the audiences’ heart. Through an old song, Gretta recalls the faded life with an idyllic pastoral scenery emerging lively on her mind. Yet when she realises it has all gone, together with her youth, her love, and that it will never come back, she weeps for the crucial reality helplessly. The man with whom she can share memories of that song no longer exists. Gretta solely merging into the beautiful melodies, even music is blocked from the dead.
As can be concluded from above, James Joyce’s novella adopts deｓｃｒｉｐｔion of surrounding environments and calm narrative tones to display his textual music, brimming with pessimism towards life. John Huston’s film adaptation, however, focuses more on the space and distance within narrow room. With an entire third person perspective, his camera shots prove more objective, thus emphasising reflections on life rather than pessimism. Both the film and the short story express the director and the author’s apprehension of life and death.
Works Cited
Vineberg, Steve. “Serving the Text: The Lonely Passion of Judith Hearne by Jack Clayton; Peter Nelson; The Dead by John Huston; Tony Huston Review” The Three penny Review No. 34 Summer (1988): 25-27
inger, Irving. “The Dead: Story and Film” The Hudson Review (Winter 2004): 655-665 Joyce, James “The Dead.” The Dubliners. 1947. Ed. Harry Levin. New York: Penguin, 1976.
190-242
Meljac, Eric Paul. “Dead Silence: James Joyce’s “The Dead” and John Huston’s Adaptation as Aesthetic Rivals” Literature Film Quarterly: 295-303
《死者》观后感(六)：英语世界的
下载的电影是西班牙语，跳进着总算是草草的看了。
葛博瑞（Gabriel Conroy）携妻子参加了两位阿姨主持的party。小说写实的风格在电影中得到了充分的体现，全片多数的场景都是在两位阿姨的住所拍摄，对话居多。
影片结尾，妻子对葛博瑞讲述了她在年轻时期曾经的爱人，而这种对当年的激情回忆似乎在某种程度上唤醒了这个男人。影片的结尾是他看着窗外的雪，大雪普降在爱尔兰的大地上。
创作于1907年，这部短篇小说是乔伊斯小说集《都柏林人》中的最后一篇。
在线阅读地址：
http://www.online-literature.com/james_joyce/958/