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飛屋環(huán)游記觀后感
《飛屋環(huán)游記》講述了一個(gè)老人曾經(jīng)與老伴約定去一座坐落在遙遠(yuǎn)南美洲的瀑布旅行，卻因?yàn)樯畋疾ㄒ恢蔽茨艹尚�，直到政府要�?qiáng)拆自己的老屋時(shí)才決定帶著屋子一起飛向瀑布，路上與結(jié)識(shí)的小胖子羅素一起冒險(xiǎn)的經(jīng)歷。
飛屋環(huán)游記觀后感【篇一】
我知道一個(gè)人這一生必須有一個(gè)夢(mèng)想，只有這樣我們才有信念將這一生完整的走下去，可是帶著夢(mèng)想遺憾地離開了這個(gè)世界，又是何等凄涼的情景?懷揣著它，只能期盼著自己下輩子去完成這個(gè)始終還在準(zhǔn)備中的夢(mèng)想。所求之物，到自己閉眼的那一刻還只能遠(yuǎn)觀，這也許就是老者心中的痛，為了妻子這個(gè)夢(mèng)想，他選擇了遠(yuǎn)行，完成這個(gè)單純而又簡(jiǎn)單的愿望。
是的，這部電影就是這么簡(jiǎn)單的情節(jié)，簡(jiǎn)單的愛(ài)情故事，簡(jiǎn)單的夢(mèng)想，簡(jiǎn)單的追求，簡(jiǎn)單的執(zhí)著，可是要完成這么多簡(jiǎn)單卻是那么難的一件事，以至于現(xiàn)實(shí)中我們都喜歡退卻著，我們喜歡找理由，是現(xiàn)實(shí)牽絆著我們一直不敢往前走去尋找自己的夢(mèng)想，簡(jiǎn)單而又單純的夢(mèng)想只能深深的埋藏自己的心底。
《飛屋環(huán)游記》就是講的這么簡(jiǎn)單的一個(gè)故事，故事的開始用了長(zhǎng)長(zhǎng)的四分鐘講述完了他們從相識(shí)，到走進(jìn)婚禮的殿堂，然后牽著手一起走到老，沒(méi)有聲音，也沒(méi)有跌宕起伏的生活情節(jié)，簡(jiǎn)簡(jiǎn)單單的從開始到結(jié)尾，然后剩下老者就這么默默的守著滿屋子的回憶開始自己那沉沉的思念。
夢(mèng)想的實(shí)現(xiàn)有時(shí)候是有那么一點(diǎn)點(diǎn)艱難，他們一開始存錢就為了那個(gè)簡(jiǎn)單的夢(mèng)想，可是柴米油鹽醬醋茶，一切生活的需要都阻止著他們前行的步伐，一次次的砸存錢罐，一次次的滿罐，直到歲月過(guò)去，親愛(ài)的她已經(jīng)坐上了輪椅，開始不了那遠(yuǎn)行的計(jì)劃，就這么老去，留下一屋子的夢(mèng)想和回憶讓老者慢慢品味。
我知道對(duì)于一個(gè)快離去的老者來(lái)說(shuō)，要做出這樣的決定會(huì)是怎樣的困難，這個(gè)屋子是他們一起建立起來(lái)的，他不容得別人就這么輕易進(jìn)入，于是他下定決心要拖著這個(gè)他們建立的家一起遠(yuǎn)行，他要讓在另一個(gè)世界的她知道他一直就在努力著。
總有那么些人，那么些事喜歡在你登上高峰的時(shí)候給你一盆冷水，讓你徹底跌入谷底，在這個(gè)尋夢(mèng)的路途中，老者的生活并不是像想象中那么的順理成章的去實(shí)現(xiàn)了夢(mèng)想，查爾斯出現(xiàn)了，這個(gè)在他們生命中的偶像，人們一般對(duì)自己的崇拜者不會(huì)懷有任何戒備心理的，老者如此，我們亦如此，可是查爾斯善變的臉龐嚇著了所有人，老者的夢(mèng)想路也就開始了那么不平坦。
看到那一幕，我心里的防線徹底崩潰了，是怎樣的無(wú)助讓他做出了那樣的選擇，當(dāng)羅素讓他去救那只鳥的時(shí)候，他站在了兩個(gè)難以抉擇的路口，一邊是受傷的小鳥被綁住了，可另一邊是自己拿承載著滿滿夢(mèng)想的房子正在大火的燃燒中，一個(gè)個(gè)氣球的爆炸，一個(gè)個(gè)心碎的聲音也就爆發(fā)了出來(lái)，他最后選擇托著他的小屋離開，他將火撲滅，可是那痛苦的眼神告訴著我們他很內(nèi)疚眼睜睜看著查爾斯無(wú)情的將小鳥帶走。
他知道自己背叛了羅素，背叛了這段最珍貴的友情，坐在了他日思?jí)粝氲牡胤剑墒撬麉s迷失了方向，在這里我特別害怕他會(huì)跳下懸崖就這樣結(jié)束這段生命，那就是最殘忍的結(jié)局了，可是編劇沒(méi)有，羅素自己去找小鳥了。他迷茫的回到了那個(gè)小屋，試圖在里面尋找到一些方向，最后他用了世界上最大的勇氣將東西從小屋里扔了出來(lái)，他扔的不僅僅是東西，更是對(duì)過(guò)去的拋棄，他知道是她在另一個(gè)世界告訴他應(yīng)該這么做，夢(mèng)想實(shí)現(xiàn)了，那么我們還要繼續(xù)的是生活，于是生活又回了來(lái)�；氐搅嗽c(diǎn)。
人們都說(shuō)，有夢(mèng)想的地方就會(huì)有斗爭(zhēng)，也許就是這樣的吧，這部影片讓我潸然淚下，我知道一切都要簡(jiǎn)單就好，于是我也決定守著那簡(jiǎn)單的夢(mèng)想就這么永遠(yuǎn)的走下去，也許夢(mèng)想無(wú)人問(wèn)津，但我相信我也會(huì)像老者一樣，總會(huì)有那么一天，會(huì)實(shí)現(xiàn)的。
飛屋環(huán)游記觀后感【篇二】
In its opening stretch the new Pixar movie “Up” flies high， borne aloft by a sense of creative flight and a flawlessly realized love story. Its on-screen and unlikely escape artist is Carl Fredricksen， a widower and former balloon salesman with a square head and a round nose that looks ready for honking. Voiced with appreciable impatience by Ed Asner， Carl isn’t your typical American animated hero. He’s 78， for starters， and the years have taken their toll on his lugubrious body and spirit， both of which seem solidly tethered to the ground. Even the two corners of his mouth point straight down. It’s as if he were sagging into the earth.
Eventually a bouquet of balloons sends Carl and his house soaring into the sky， where they go up， up and away and off to an adventure in South America with a portly child， some talking (and snarling and gourmet-cooking) dogs and an unexpected villain. Though the initial images of flight are wonderfully rendered — the house shudders and creaks and splinters and groans as it’s ripped from its foundation by the balloons — the movie remains bound by convention， despite even its modest 3-D depth. This has become the Pixar way. Passages of glorious imagination are invariably matched by stock characters and banal story choices， as each new movie becomes another manifestation of the movie-industry divide between art and the bottom line.
In “Up” that divide is evident between the early scenes， which tell Carl’s story with extraordinary tenderness and brilliant narrative economy， and the later scenes of him as a geriatric action hero. The movie opens with the young Carl enthusing over black-and-white newsreel images of his hero， a world-famous aviator and explorer， Charles Muntz (Christopher Plummer). Shortly thereafter， Carl meets Ellie， a plucky， would-be adventurer who， a few edits later， becomes his beloved wife， an adult relationship that the director Pete Docter brilliantly compresses into some four wordless minutes during which the couple dream together， face crushing disappointment and grow happily old side by side. Like the opener of “Wall-E” and the critic’s Proustian reminiscence of childhood in “Ratatouille，” this is filmmaking at its purest.
The absence of words suggests that Mr. Docter and the co-director Bob Peterson， with whom he wrote the screenplay， are looking back to the silent era， as Andrew Stanton did with the Chaplinesque start to “Wall-E.” Even so， partly because “Up” includes a newsreel interlude， its marriage sequence also brings to mind the breakfast table in “Citizen Kane.” In this justly famous (talking) montage， Orson Welles shows the collapse of a marriage over a number of years through a series of images of Kane and his first wife seated across from each other at breakfast， another portrait of a marriage in miniature. As in their finest work， the Pixar filmmakers have created thrilling cinema simply by rifling through its history.
Those thrills begin to peter out after the boy， Russell (Jordan Nagai)， inadvertently hitches a ride with Carl， forcing the old man to assume increasingly grandfatherly duties. But before that happens there are glories to savor， notably the scenes of Carl — having decided to head off on the kind of adventure Ellie and he always postponed — taking to the air. When the multihued balloons burst through the top of his wooden house it’s as if a thousand gloriously unfettered thoughts had bloomed above his similarly squared head. Especially lovely is the image of a little girl jumping in giddy delight as the house rises in front of her large picture window， the sunlight through the balloons daubing her room with bright color.
In time Carl and Russell， an irritant whose Botero proportions recall those of the human dirigibles in “Wall-E，” float to South America where they， the house and the movie come down to earth. Though Mr. Docter’s visual imagination shows no signs of strain here — the image of Carl stubbornly pulling his house， now tethered to his torso， could have come out of the illustrated Freud — the story grows progressively more formulaic. And cuter. Carl comes face to face with his childhood hero， Muntz， an eccentric with the dashing looks and frenetic energy of a younger Kirk Douglas. Muntz lives with a legion of talking dogs with which he has been hunting a rare bird whose gaudy plumage echoes the palette of Carl’s balloons.
The talking dogs are certainly a hoot， including the slobbering yellow furball Dug and a squeaky-voiced Doberman， Alpha (both Mr. Peterson)， not to mention the dog in the kitchen and the one that pops open the Champagne. And there’s something to be said about the revelation that heroes might not be what you imagined， particularly in a children’s movie and particularly one released by Disney. (Muntz seems partly inspired by Charles Lindbergh at his most heroic and otherwise.) But much like Russell， the little boy with father problems， and much like Dug， the dog with master issues， the story starts to feel ingratiating enough to warrant a kick. O.K.， O.K.， not a kick， just some gently expressed regret.
飛屋環(huán)游記觀后感【篇三】
電影的開頭部分像我們講述了一個(gè)溫暖的愛(ài)情故事，其實(shí)就是我們每個(gè)人短暫而美好的一生。如果能夠這樣這樣相愛(ài)、包容一輩子到老，是一件多么浪漫的事。追憶似水年華，生活的細(xì)節(jié)中包含這樣多的溫情和摯愛(ài)，這些最珍貴的印記總是占據(jù)思緒中最華彩的篇章。只是，往往時(shí)間倏然而過(guò)，那些曾經(jīng)的夢(mèng)想?yún)s永遠(yuǎn)留在想象和期許之中了。所以當(dāng)我們有夢(mèng)想的時(shí)候，一定記住要一起去實(shí)現(xiàn)啊!
艾利去世后，垂垂暮年的卡爾始終不能適應(yīng)沒(méi)有愛(ài)人的日子。每天一個(gè)人的生活清冷而孤獨(dú)，他總會(huì)看著小屋中的一切想起艾利。艾利的那本夢(mèng)想圖冊(cè)是他經(jīng)常翻閱的東西，物是人非，本來(lái)要追求夢(mèng)想的兩個(gè)人如今形影單只。原本卡爾想在這樣的回憶和遺憾里終老一生，可是這樣的日子也成了奢望。開發(fā)商為了得到卡爾的這塊土地，找借口將卡爾告上法庭，最后卡爾不得不去敬老院。最后的那個(gè)夜晚，卡爾老淚縱橫，低低地呼喚艾利：“老婆，我該怎么辦?”第二天，當(dāng)敬老院的人來(lái)接卡爾時(shí)，想到卡爾真的要離開這座承載了無(wú)數(shù)愛(ài)的小屋，卡爾和艾利的夢(mèng)想不能實(shí)現(xiàn)，他也許以后的日子都要失去自由了，我心如刀割�？墒瞧孥E出現(xiàn)了——卡爾抖開巨大的袋子，無(wú)數(shù)個(gè)扎在一起的氣球沖天而起，帶著小屋飛起來(lái)了，飛過(guò)城市、田野，飛向高遠(yuǎn)的藍(lán)天、飛向他們的夢(mèng)想——仙境瀑布。那一刻，我熱淚盈眶。
卡爾歷盡千難萬(wàn)險(xiǎn)終于到達(dá)了仙境瀑布，可是他失去了一路上同甘共苦的朋友——小羅、逗逗和大鳥凱文。實(shí)現(xiàn)理想的卡爾沒(méi)有得到快樂(lè)，依舊是悶悶不樂(lè)，原來(lái)自己始終沒(méi)有走出艾利離開自己的陰影，失去了艾利的自己不過(guò)是一具空殼。他再一次翻看艾利的夢(mèng)想圖冊(cè)，發(fā)現(xiàn)在“長(zhǎng)大后我要做的事”這一頁(yè)后面貼了許多兩個(gè)人在一起時(shí)的照片，最后的那一頁(yè)艾利寫到“我只能陪你走這一段，以后屬于你的冒險(xiǎn)更精彩。”卡爾忽然頓悟，自己重新找到生活的方向快樂(lè)起來(lái)，才是對(duì)艾利最好的祭奠。于是他救出朋友并和他們一起回到家鄉(xiāng)過(guò)快樂(lè)的日子。我想：去仙境瀑布追尋夢(mèng)想的過(guò)程，就是卡爾尋找自我的過(guò)程。既然分離是人生的底色，就沒(méi)有人能夠逃脫，無(wú)論是主動(dòng)選擇的還是被動(dòng)接受的，都意味著某種放棄，我們要告別某個(gè)人，或者要放棄既定的生活，這讓我們無(wú)所適從。但是，人生的閱歷會(huì)讓我們發(fā)現(xiàn)，這些分離能夠讓我們放棄依賴，重新審視自己而回到自我，描繪出獨(dú)特的生命流向而成為真正的自己——破繭而出。
和最愛(ài)的人一起看看這部片子吧。當(dāng)那些誓言早已塵封，你會(huì)憶起兩個(gè)人在一起的點(diǎn)點(diǎn)滴滴，想起那些他為你做過(guò)的事情，購(gòu)置的物品，栽種的花草，那些一同走過(guò)的日子，在陽(yáng)光的碎影里熠熠生輝，原來(lái)我們現(xiàn)在所擁有的彌足珍貴，看似平凡卻芳醇四溢。
——獻(xiàn)給我的愛(ài)人，我們也要這樣一直相愛(ài)到老。
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