- 注释版
- 纯净版
来源:
[1] "Crash" tells interlocking stories of whites, blacks, Latinos, Koreans, Iranians, cops and criminals, the rich and the poor, the powerful and powerless, all defined in one way or another by racism. All are victims of it, and all are guilty it. Sometimes, yes, they rise above it, although it is never that simple. Their negative impulses may be instinctive, their positive impulses may be dangerous, and who knows what the other person is thinking?
词汇词组：
1） Racism/ˈreɪsɪzəm/：种族歧视，种族主义
例：Half a million people held a mass protest against racism last night.
2） Rise above：战胜，克服
例：He had struggled hard to rise above his humble background.
3） Impulse/ˈɪmpʌls/：冲动
例：My first impulse was to run away.
4） Instinctive/ɪnˈstɪŋktɪv/：本能的，天生的
例：My instinctive reaction was to deny everything.
[2] The result is a movie of intense fascination; we understand quickly enough who the characters are and what their lives are like, but we have no idea how they will behave, because so much depends on accident. Most movies enact rituals; we know the form and watch for variations. "Crash" is a movie with free will, and anything can happen. Because we care about the characters, the movie is uncanny in its ability to rope us in and get us involved.
词汇词组：
1） Uncanny /ʌnˈkæni/：离奇的，不好解释的
例：I had an uncanny feeling I was being watched.
重难点句：
Most movies enact rituals; we know the form and watch for variations. "Crash" is a movie with free will, and anything can happen. Because we care about the characters, the movie is uncanny in its ability to rope us in and get us involved.
大部分的电影都按照固定的模式展开（表演），我们知道它的形式，看着他们有什么变化。Crash是一部思想自由的电影，而且什么都有可能发生。因为我们关心的是角色，而电影就有一种很离奇的能力把我们绑在一起并融入其中。
分析：ritual，指的是固定的模式，例行公事等。Rope sb in和get sb involved，可以看成一个并列把观众圈进来，让他们参与其中。
[3] "Crash" was directed by Paul Haggis, whose screenplay for "Million Dollar Baby" led to Academy Awards. It connects stories based on coincidence, serendipity, and luck, as the lives of the characters crash against one another other like pinballs. The movie presumes that most people feel prejudice and resentment against members of other groups, and observes the consequences of those feelings.
词汇词组：
1） Serendipity /ˌserənˈdɪpəti/：碰巧发现，机缘巧合
例：Meeting her like that, and there of all places, was true serendipity!
2） Presume /prɪˈzuːm/：假定，认为
例：I had presumed wrongly that Jenny would be there.
3） Prejudice /ˈpredʒudɪs/：偏见
例：Their decision was based on ignorance and prejudice.
4） Resentment /rɪˈzentmənt/：憎恨
例：I felt great resentment at having to work such long hours.
重难点句：
It connects stories based on coincidence, serendipity, and luck, as the lives of the characters crash against one another other like pinballs. The movie presumes that most people feel prejudice and resentment against members of other groups, and observes the consequences of those feelings.
整个故事基于意外/巧合/运气串联起来，如同角色的命运像弹珠游戏一样相互撞击。电影预设大部分的人都是有偏见或者是憎恨另一个群体里的人，并且就生生看着他们这种情感所发酵出的结果。
分析：as在这儿是个连词，表示“如同”。One another后面的other应该是打印错误，去掉即可。Presume和observe是两个并列的动词。
[4] One thing that happens, again and again, is that peoples' assumptions prevent them from seeing the actual person standing before them. An Iranian (Shaun Toub) is thought to be an Arab, although Iranians are Persian. Both the Iranian and the white wife of the district attorney (Sandra Bullock) believe a Mexican-American locksmith (Michael Pena) is a gang member and a crook, but he is a family man.
词汇词组：
1） Prevent /prɪˈvent/ from：避免什么怎么样
例：Nothing would prevent him from speaking out against injustice.
2） Attorney /əˈtɜːrni/：律师，法官
例：Army attorneys argued for a general discharge.
3） Locksmith /ˈlɑːksmɪθ/：修锁工
重难点句：
Both the Iranian and the white wife of the district attorney (Sandra Bullock) believe a Mexican-American locksmith (Michael Pena) is a gang member and a crook, but he is a family man.
伊朗人和区域大法官的白人妻子都觉得那个墨西哥裔美国人，修锁工是一个犯罪团伙成员，是个坏人，但事实上他是一个很顾家的男人。
分析：believe后面跟的是一个并于从句，省去了that。Family在这儿的用法相当于一个形容词，和我们平时说的I’m a people person.我是一个喜欢和人打交道的人，当中的people的用法一样。
[5] A black cop (Don Cheadle) is having an affair with his Latina partner (Jennifer Esposito), but never gets it straight which country she's from. A cop (Matt Dillon) thinks a light-skinned black woman (Thandie Newton) is white. When a white producer tells a black TV director (Terrence Dashon Howard) that a black character "doesn't sound black enough," it never occurs to him that the director doesn't "sound black," either. For that matter, neither do two young black men (Larenz Tate and Ludacris), who dress and act like college students, but have a surprise for us.
词汇词组：
1） Occur /əˈkɜːr/ to sb：某人想起什么
例：It didn't occur to him that his wife was having an affair.
[6] You see how it goes. Along the way, these people say exactly what they are thinking, without the filters of political correctness. The district attorney's wife is so frightened by a street encounter that she has the locks changed, then assumes the locksmith will be back with his "homies" to attack them. The white cop can't get medical care for his dying father, and accuses a black woman at his HMO with taking advantage of preferential racial treatment. The Iranian can't understand what the locksmith is trying to tell him, freaks out, and buys a gun to protect himself. The gun dealer and the Iranian get into a shouting match.
词汇词组：
1） Encounter /ɪnˈkaʊntər/：发生，遭遇，遇见
例：Three of them were killed in the subsequent encounter with the police.
2） Accuse /əˈkjuːz/：指责
例：She accused him of lying.
[7] I make this sound almost like episodic TV, but Haggis writes with such directness and such a good ear for everyday speech that the characters seem real and plausible after only a few words. His cast is uniformly strong; the actors sidestep cliches and make their characters particular.
词汇词组：
1） Uniformly /ˈjuːnɪfɔːrmli/：一致的
例：The principles were applied uniformly across all the departments.
2） Sidestep /ˈsaɪdstep/：回避，移步
例：Did you notice how she neatly sidestepped the question?
3） Cliché/kliːˈʃeɪ/：陈词滥调，废话
例：It has become a cliché to say that Prague is the most beautiful city in Europe.
重难点句：
I make this sound almost like episodic TV, but Haggis writes with such directness and such a good ear for everyday speech that the characters seem real and plausible after only a few words. His cast is uniformly strong; the actors sidestep cliches and make their characters particular.
我（的描述）让它听起来就像是电视剧的一集一样，而导演Haggis而是直截了当的写出来，而且是我们任何一个耳朵都能在生活中听得到的内容，这其中的角色们，从他们短短的几句话里，就能看起来是那么的真实可信。（导演）他的演员阵容都很强大，演员们避开那些陈词滥调的表演，让整个角色鲜活起来。
分析：第一句话里，sound是make的宾语补足语，this指的是前文作者的描述。后文中的两个such并列，such 和that构成一个如此怎么样的句型。
[8] For me, the strongest performance is by Matt Dillon, as the racist cop in anguish over his father. He makes an unnecessary traffic stop when he thinks he sees the black TV director and his light-skinned wife doing something they really shouldn't be doing at the same time they're driving. True enough, but he wouldn't have stopped a black couple or a white couple. He humiliates the woman with an invasive body search, while her husband is forced to stand by powerless, because the cops have the guns -- Dillon, and also an unseasoned rookie (Ryan Phillippe), who hates what he's seeing but has to back up his partner.
词汇词组：
1） Anguish /ˈæŋɡwɪʃ/：极度的痛苦
例：Tears of anguish filled her eyes.
2） Humiliate /hjuːˈmɪlieɪt/：侮辱，羞辱
例：I didn't want to humiliate her in front of her colleagues.
3） Invasive /ɪnˈveɪsɪv/：侵略性的，攻击性的
4） Unseasoned / ʌnˈsiːznd/：经验不丰富的，不成熟的
5） Back up：支持，帮助
例：I'll back you up if they don't believe you.
重难点句：
True enough, but he wouldn't have stopped a black couple or a white couple. He humiliates the woman with an invasive body search, while her husband is forced to stand by powerless, because the cops have the guns -- Dillon, and also an unseasoned rookie (Ryan Phillippe), who hates what he's seeing but has to back up his partner.
确实是这样，但是他也不会去拦下一对儿黑人夫妇或是白人夫妇。他用侵略式的身体搜查羞辱了这个妇人，同时她的丈夫被迫要求站在一旁无能为力，只是因为警察有枪，一个警察是Dillon，另一个是一个没有经验的新手，他虽然很讨厌看到的这些但又不得不作为他的同伴的帮手。
分析：wouldn’t have stopped是对过去的一种假设，虚拟语气，过去也不会怎么样，破折号后面是来解释那两个cops是谁，而who hates what he’s seeing but是来修饰这个新手的内容。
[9] That traffic stop shows Dillon's cop as vile and hateful. But later we see him trying to care for his sick father, and we understand why he explodes at the HMO worker (whose race is only an excuse for his anger). He victimizes others by exercising his power, and is impotent when it comes to helping his father. Then the plot turns ironically on itself, and both of the cops find themselves, in very different ways, saving the lives of the very same TV director and his wife. Is this just manipulative storytelling? It didn't feel that way to me, because it serves a deeper purpose than mere irony: Haggis is telling parables, in which the characters learn the lessons they have earned by their behavior.
词汇词组：
1） Vile /vaɪl/：坏透的，可耻的
例：The weather was really vile most of the time.
2） Impotent /ˈɪmpətənt/：无力的，虚弱的
例：Without the chairman's support, the committee is impotent.
3） Ironically /aɪˈrɑːnɪkli/：讽刺的
例：He smiled ironically.
4） Manipulative /məˈnɪpjəleɪtɪv/：操作的，善于控制他人的
例：He’s extremely manipulative, so don’t let him persuade you.
重难点句：
He victimizes others by exercising his power, and is impotent when it comes to helping his father.
他通过行使他的权力使其他人变成受害者，但当他需要去帮助他的父亲时，他又是无能为力的。
分析：when it come to后面加的是一个名词性成分。
[10] Other cross-cutting Los Angeles stories come to mind, especially Lawrence Kasdan's more optimistic "Grand Canyon" and Robert Altman's more humanistic "Short Cuts." But "Crash" finds a way of its own. It shows the way we all leap to conclusions based on race -- yes, all of us, of all races, and however fair-minded we may try to be -- and we pay a price for that. If there is hope in the story, it comes because as the characters crash into one another, they learn things, mostly about themselves. Almost all of them are still alive at the end, and are better people because of what has happened to them. Not happier, not calmer, not even wiser, but better. Then there are those few who kill or get killed; racism has tragedy built in.
词汇词组：
1） Cross-cutting：交叉剪接
2） Fair-minded：公正的，不偏不倚的
重难点句：
If there is hope in the story, it comes because as the characters crash into one another, they learn things, mostly about themselves.
如果说故事当中有希望的话，它的存在是因为当角色们之间相互撞车时，他们学到了一些事，更多的是关于他们自己的事。
分析：come在这儿是个不及物动词，because是个连词，as引导了一个时间状语从句，当什么的时候。
[11] Not many films have the possibility of making their audiences better people. I don't expect "Crash" to work any miracles, but I believe anyone seeing it is likely to be moved to have a little more sympathy for people not like themselves. The movie contains hurt, coldness and cruelty, but is it without hope? Not at all. Stand back and consider. All of these people, superficially so different, share the city and learn that they share similar fears and hopes. Until several hundred years ago, most people everywhere on earth never saw anybody who didn't look like them. They were not racist because, as far as they knew, there was only one race. You may have to look hard to see it, but "Crash" is a film about progress.
词汇词组：
1） Expect /ɪkˈspekt/：期待，期望，指望
例：I don't expect we'll have any more trouble from him.
2） Superficially /ˌsuːpərˈfɪʃəli/：表面上地
例：Their paintings are superficially similar.
重难点句：
I don't expect "Crash" to work any miracles, but I believe anyone seeing it is likely to be moved to have a little more sympathy for people not like themselves.
我并不指望Crash能创造什么奇迹，但是我相信，任何看过它的人都能够有一丝感动并对和他们不一样的人有一丝的怜悯之情。
分析：expect这个词非常好，expect sb to do sth，指望某人做某事，或者期待某人做某事，同时它也经常用作被动，sb/sth is expected to do，指的是应该怎么样，语气上是比较严厉的。Believe后面是一个宾语从句，is是整个从句的谓语。
Until several hundred years ago, most people everywhere on earth never saw anybody who didn't look like them.
直到几百年前，地球上的大部分人都从来没有见过和他们长的不一样的人，
分析：那个时候还没有开始大航海，人类对世界的认识还都仅仅局限于自己所生活的一片天空下。Until后面跟的是一个时间点，直到什么时候。
来源:
[1] "Crash" tells interlocking stories of whites, blacks, Latinos, Koreans, Iranians, cops and criminals, the rich and the poor, the powerful and powerless, all defined in one way or another by racism. All are victims of it, and all are guilty it. Sometimes, yes, they rise above it, although it is never that simple. Their negative impulses may be instinctive, their positive impulses may be dangerous, and who knows what the other person is thinking?
[2] The result is a movie of intense fascination; we understand quickly enough who the characters are and what their lives are like, but we have no idea how they will behave, because so much depends on accident. Most movies enact rituals; we know the form and watch for variations. "Crash" is a movie with free will, and anything can happen. Because we care about the characters, the movie is uncanny in its ability to rope us in and get us involved.
[3] "Crash" was directed by Paul Haggis, whose screenplay for "Million Dollar Baby" led to Academy Awards. It connects stories based on coincidence, serendipity, and luck, as the lives of the characters crash against one another other like pinballs. The movie presumes that most people feel prejudice and resentment against members of other groups, and observes the consequences of those feelings.
[4] One thing that happens, again and again, is that peoples' assumptions prevent them from seeing the actual person standing before them. An Iranian (Shaun Toub) is thought to be an Arab, although Iranians are Persian. Both the Iranian and the white wife of the district attorney (Sandra Bullock) believe a Mexican-American locksmith (Michael Pena) is a gang member and a crook, but he is a family man.
[5] A black cop (Don Cheadle) is having an affair with his Latina partner (Jennifer Esposito), but never gets it straight which country she's from. A cop (Matt Dillon) thinks a light-skinned black woman (Thandie Newton) is white. When a white producer tells a black TV director (Terrence Dashon Howard) that a black character "doesn't sound black enough," it never occurs to him that the director doesn't "sound black," either. For that matter, neither do two young black men (Larenz Tate and Ludacris), who dress and act like college students, but have a surprise for us.
[6] You see how it goes. Along the way, these people say exactly what they are thinking, without the filters of political correctness. The district attorney's wife is so frightened by a street encounter that she has the locks changed, then assumes the locksmith will be back with his "homies" to attack them. The white cop can't get medical care for his dying father, and accuses a black woman at his HMO with taking advantage of preferential racial treatment. The Iranian can't understand what the locksmith is trying to tell him, freaks out, and buys a gun to protect himself. The gun dealer and the Iranian get into a shouting match.
[7] I make this sound almost like episodic TV, but Haggis writes with such directness and such a good ear for everyday speech that the characters seem real and plausible after only a few words. His cast is uniformly strong; the actors sidestep cliches and make their characters particular.
[8] For me, the strongest performance is by Matt Dillon, as the racist cop in anguish over his father. He makes an unnecessary traffic stop when he thinks he sees the black TV director and his light-skinned wife doing something they really shouldn't be doing at the same time they're driving. True enough, but he wouldn't have stopped a black couple or a white couple. He humiliates the woman with an invasive body search, while her husband is forced to stand by powerless, because the cops have the guns -- Dillon, and also an unseasoned rookie (Ryan Phillippe), who hates what he's seeing but has to back up his partner.
[9] That traffic stop shows Dillon's cop as vile and hateful. But later we see him trying to care for his sick father, and we understand why he explodes at the HMO worker (whose race is only an excuse for his anger). He victimizes others by exercising his power, and is impotent when it comes to helping his father. Then the plot turns ironically on itself, and both of the cops find themselves, in very different ways, saving the lives of the very same TV director and his wife. Is this just manipulative storytelling? It didn't feel that way to me, because it serves a deeper purpose than mere irony: Haggis is telling parables, in which the characters learn the lessons they have earned by their behavior.
[10] Other cross-cutting Los Angeles stories come to mind, especially Lawrence Kasdan's more optimistic "Grand Canyon" and Robert Altman's more humanistic "Short Cuts." But "Crash" finds a way of its own. It shows the way we all leap to conclusions based on race -- yes, all of us, of all races, and however fair-minded we may try to be -- and we pay a price for that. If there is hope in the story, it comes because as the characters crash into one another, they learn things, mostly about themselves. Almost all of them are still alive at the end, and are better people because of what has happened to them. Not happier, not calmer, not even wiser, but better. Then there are those few who kill or get killed; racism has tragedy built in.
[11] Not many films have the possibility of making their audiences better people. I don't expect "Crash" to work any miracles, but I believe anyone seeing it is likely to be moved to have a little more sympathy for people not like themselves. The movie contains hurt, coldness and cruelty, but is it without hope? Not at all. Stand back and consider. All of these people, superficially so different, share the city and learn that they share similar fears and hopes. Until several hundred years ago, most people everywhere on earth never saw anybody who didn't look like them. They were not racist because, as far as they knew, there was only one race. You may have to look hard to see it, but "Crash" is a film about progress.