电影喜福会观后感英语版

1. 求joy luck club 介绍 影评

简介
影片以旅美的四对华裔母女为中心，分别描述她们几个家庭在近百年来的遭遇，从而对比出中国女性从受尽辛酸屈辱的祖母辈逐渐成长为具有独立人格和经济地位的新一代女性。
主要情节是温明娜饰演的琼原来跟母亲有很深的误会，但当她代替已去世的母亲回中国大陆探望两个当年在抗战逃难时被遗弃的姊姊时，却深深感受到上一代的苦难和割断不了的亲情
影评
引言
“老渗袭知丛消妇人记得多年前于上海，曾花费不菲买下一只天鹅。‘这畜生……’市场鹅贩吹嘘着，‘伸长脖子企盼化鹅，你瞧，它美得让人不忍下肚。’然后这妇人抱着鹅飘洋过海，满怀期盼地前往美国。旅途中，她告诉天鹅说，在美国我会有个像我的女儿，在那儿，她无需仰仗丈夫鼻息度日；没人会看低她，因为她将说得一口流利的英文；我要她成为一只比期望中还要好上一百倍的天鹅。但当她抵达新国度，移民官员夺走她的鹅，妇人惊惶地挥舞手臂，只留得一片羽毛作纪念。很久以后的现在，这妇人想给她女儿这羽毛，并告诉她，这羽毛虽不值钱，却是来自遥远的国度，一直载负着我的期盼。”
那只远渡重洋的天鹅背负着四位母亲历经劫难而重生后集聚的生存信念和中国传统的人格自由的精神以及对女儿所有的期待。而在美国这片新大陆，她们却在自觉和不自觉之间发现她们的信念和价值并不能得到这个“自由国度”的认可。但她们仍然竭尽所能留下那片即使旁人看来不值钱的羽毛，希望最终有一天她们的女儿能够理解她们所有的心情。

谭恩美和她的《喜福会》
华裔美国女作家谭恩美(Amy Tan)的成名作《喜福会》(The Joy Luck Club)一发表，就被列入《纽约时报》畅销书排行榜达9个月之久。1990年，该书获得洛杉矶图书奖，全美图书奖，全美图书评论家奖，海湾区图书评论小说奖和英联邦俱乐部金奖等多项文学大奖。小说后来被改编成电影也在国内外引起了剧烈的反响。《喜福会》取得如此辉煌的成就，一方面是因为小说描写了四位母亲在旧中国的苦难经历，充满了东方色彩，迎合了美国广大读者渴望了解神秘的古老中国的心理。另一方面是因为小说具有跨文化主题。作者通过描写四对母女间的代沟和隔阂冲突反映了母体文化与异质文化相遇而生的文化情结——东西文化的冲突与融合，以及华裔在两种文化的碰撞中对自我文化身份的艰难求索这一富有世界意义的重大主题。
和小说中所描写的移民后代一样，谭恩美具有双重身份。一方面作为中国移民的后裔，她从母亲的故事中经受了中国文化的熏陶，在她的骨子里，有一种无法消解的中国文化情节。另一方面作为在美国生长的第二代移民，周围的环境和所受的教育都是典型美国式的。美国是个移民社会，是个“大熔炉”，如何对待传统文化和主流文化之间的冲突，也就是关于文化身份认同的思考普遍存在于少数族裔作家的文本中。在《喜福会》中，作者从个人的记忆出发，间离了一个特定的观察历史和吸纳文化的视角，将自我经历放大，将家庭矛盾、母女之间的冲突提升到文化冲突的层次，并在中美文化传统的大背景下使之象征化、寓言话，使得小说和后来的电影都更具文化内涵和艺术张力。《喜福会》中所描写的四位母亲，在40年代带着旧中国的苦难和传统文化，从中国大陆移居美国。那时的美国是她们心目中的天堂，在美国她们希望自己的女儿再也不会重复旧中国妇女的不幸，不再重蹈她们的覆辙。对孩子她们寄予无限的希望，她们想按自己的理想规划女儿的前程。但是，这些在美国出生长大的孩子们自幼接受的是美国的文化，在她们看来，母亲的想法与行为既荒唐又可笑，于是双方各执己见，互不相让，从而产生了很深的矛盾。从文化的角度看，影片的前半部分通过四对母女之间的关系表现了中西两种文化间的碰撞与冲突，后半部分记述了母女关系从冲突走向和解从而构建了东西文化从二元对立到二元融合的文化发展前景。
华裔群体作为迁徙的族裔面对的是双重文化的困境，母体文化与生活中异质文化的冲突，使得他们无法从根本上超越原有文化的成规。于是在与异质文化碰撞与遭遇时，沉积在记忆深处的文化基因和成规就会自然显现。后殖民理论家霍米•巴巴(Homi Bhabha)“对民族主义、再现和抵制都予以了严格的审视，尤其强调了一种带有殖民论争之特征的‘矛盾性’和‘混杂性’”是“对文化和民族身份的想象性建构。”。①这种“混杂性”就是处于边缘的流浪作家的一禅雹种颠覆策略，以异质文化渗透到主流文化当中，从而被主流文化所认同。

母女交流的“失语”——中西文化的碰撞
两代人之间的交流障碍，首先来自语言。“语言作为一种信号，反映出文化成见和约束了人们的思考方式”，而且“在意义通过语言的编码过程中，语言外部的情景极为重要。”。②在影片中我们可以发现这样一个有趣的现象，即使在家庭中，所有成员的对话都是使用英文，但母亲们的英文中总会夹着些许的汉语词汇，特别在她们急于表达某种意义的时候。我们相信，对于母亲来说，中文永远是她们的母语，就像中国永远是她们心灵深处的家。只要她们愿意，这语言随时能够从她们嘴里流利而出。所以苏坚持办着“喜福会”，因为这是母亲们心中传统文化的栖息之地，让她们这群身处异国他乡，徘徊在主流文化边缘的异乡人，可以穿起中国服装，用母语闲聊、讲故事，在强烈的本土文化氛围中感受精神上的慰藉。可是对于她们的下一代，她们却忧心忡忡，虽然她已经“说得一口流利的英文”，但却“轻忽了她们来到美国的梦想”。这些第二代移民随着年月的增长，甚至已经完全忘记了自己本来是个中国人。她们不再使用中文，而是用流利的英语进行交流。即使在打麻将的这样一个传统的场合，她们也不允许母亲们在和她们的交流中夹杂中文，因为她们不知道她们“是不是在作弊”。语言的不通，自然在很大程度上造成了母女之间信息交流的闭塞，直至双方都陷入沉默。
在中英两种语言环境下，“家庭”这一语言符号的“能指”被赋予了不同的“所指”意义。在中国的传统观念中，家庭既代表了家长对子女的绝对权力，又意味着家长与子女之间相互依赖的关系。但在美国的个人主义价值观则鼓励各人奋斗，强调自我实现和独立意识。影片中所表现的母女之间的冲突在某种程度上便折射出了中美两种文化之间关于“家庭”价值观的碰撞。苏一直以来都把对在大陆下落不明的两个双胞胎的“亏欠”转化成希望寄托在女儿君的身上。她望女成凤，一直用自己心目中的母爱方式对君进行着“天才培养计划”，并在君有所反抗的时候强势地喊出：“女儿只有两种，服从母命和随心所欲的，但这房子只容得下服从的。”可是君这样在“自由国度”长大的孩子如何能理解母亲的苦心，她也不甘示弱地对母亲吼着：“我又不是你的奴隶，这里不是中国，你逼不了我！”此后，母女俩的分歧一直持续了二十多年，君故意忽视母亲的期盼，也使自己最终成为了一个碌碌无为的人。薇莉自幼有着下棋的天赋，却因看不惯母亲拿着自己的荣誉到处炫耀而赌气说不再下棋，而她倔强的母亲林多却认为自己对薇莉的苦心栽培不仅没有得到女儿应有的尊重和回报，就连为女儿骄傲这么无可厚非的表现都被女儿当作是失去面子的事情，从而失望不已，以致很长时间不再“干涉”女儿的生活，永远一副不喜不悲的表情。母女之间的隔阂由此而生，“失语”长达了二十多年之久。
影片中的母女两代人的误解和隔膜是在跨文化语境中产生的，因而这种矛盾冲突不仅仅是通常的“代沟”可以涵盖的，它体现了自我/他者、中心/边缘、西方/东方之间的文化权力冲突。正如萨义德在《东方学》中所说的:“西方与东方的关系是一种权力统治和不同程度的复杂的霸权关系。”③在这种文化落差和文化夹缝中必然要形成代表美国主流文化的女儿和代表中国传统文化的母亲之间对话语权的争夺。出于劣势的母亲——东方文化必然受到强势西方文化的压抑，使得母女双方在种族壁垒和文化碰撞的阻隔下越走越远，终于陷入“失语”的状态。西方认知结构下的权力意识和对于中国的片面的、有偏见的西方文化传统使浸润于美国文化的女儿们对于母亲的认识自然成了歪曲异质文化的一种单向活动。而中国近代史上的卑微性和经济上的落后性更加使得中国母亲在异质文化中处于“边缘人”的地位。她们在社会上没有自己的声音，唯一能依赖的便是那股不认输的精神和悠久的文化传统。她们以结结巴巴的英语，对女儿的生活和成长进行干预和教育，表现着她们无畏的抗争以及对西方霸权的挑战。和东方意识不谋而合的是，母亲在母女对抗的关系中，不去据理力争，和女儿争辩不休，而是采用中国传统的忍让、以退为进的方法。
在这样的思想文化冲突带来的沉默中，母亲老去了，女儿也经历了两种文化在自己身上的碰撞与冲突。当母亲一代正痛苦地忍受“失语”带来的巨大创伤时，女儿们也在不知不觉地重复着母亲们的故事。

女儿们的尴尬——他者自身的困惑
对于在美国出生的女儿们来说，“中国”是遥远的，是母亲的絮絮叨叨，是她们不能完全理解的汉语，是神话般的故事。她们想尽办法去适应和同化于周围主流社会的文化环境，努力使自己成为一个真正的“美国人”。然而，她们与生俱来的脸庞和从母亲那里潜移默化得来的中国传统文化价值使她们在美国人眼中永远属于“他者”。正如帕特里夏•林所指出：“在美国出生的华裔妇女对于中美完全不同的价值观十分敏感。与她们的母亲不同，这些妇女面对的是来自两种对抗文化的要求。尽管这些在美国土生土长的华裔妇女熟知中国生活方式的点点滴滴，但她们常常会因为必须在‘中国式’和‘美国式’之间做一决择而感到无可奈何。相比之下，她们在中国出生的母亲，很少会因为纠缠在究竟是中国人还是美国人以及生为女性之类的复杂问题中而感到茫然。”④
薇莉总是说一口流利的英语，干练的作风和能力让她在事业上也有所成就，她在各方面都可以算是一个成功的“美国人”，但唯独在感情方面，她始终过不了母亲那一关——其实说到底是过不了她自己心里那一关。虽说多年来的隔阂让母女两人几乎没有交流的空间，但在那种中国式教育之下长大的孩子，天生对父母有一种不知名的畏惧。头一次婚姻，薇莉就为了母亲欢心而嫁给了一个中国人。这一次她想勇敢找寻自己的幸福生活，但母亲这个形象在她心里却如同一座大山。带男友回家吃饭的那晚，薇莉一直在观察母亲的表情，母亲笑了她也松口气，母亲如果不开心，她连结婚的事都不敢提。在外在的美国式潇洒感情和内在的中国孝道之间，薇莉一直左右为难。李娜有一份独立的工作，在生活中她和丈夫的一切开销都“AA制”清算，她总以为这样就能彰显她独立自主的人格而得到丈夫的尊敬，然而，“在经济方面得到自由，就不是傀儡了吗？也还是傀儡。无非是被人所牵的事可以减少，而自己能牵的傀儡可以增多罢了。”⑤在成为经济上独立的新女性的同时，李娜却在不自觉间丧失了感情的尊严，夫妻之间的生活反而在很大程度上事事被金钱的利益所左右，让她心中郁闷却又不知症结在何处，有苦说不出。罗丝拥有的优雅外表和清高性格使她赢得了出版大亨儿子的青睐，然而男方的母亲却试图请罗丝离开，因为她的肤色，她的地位很可能影响其儿子的事业发展。“在西方文化中，主流意识形态一再把自己与一个处于从属地位的他者相区分。”“为了维护一个民族的优越地位，别的东西——一个他者——必须首先被作为低等的打上标签。”⑥美国学者艾米•琳在谈到华裔的文化身份的时候曾经说到：“不管是新移民还是出生在美国的中国人，都发现她们被夹在两个世界之间。他们的面部特征宣告了一个事实——他们的种族是亚洲，但是通过教育、选择或者出生，他们又是美国人。”⑦可是即使是国籍上，文化上的“美国人”又如何呢？在正统主流的西方文化语境中，肤色决定了她们永远都是处于社会边缘的“他者”。世俗的眼光在一定程度上也影响了罗丝的心理，她虽然嫁给了心上人，但却在内心深处将自己看成了丈夫身边的摆设，为了爱情而失去了个性和自由，最终也失去了丈夫的尊重和爱情，成为感情上的“他者”。
如果说母女之间的“失语”更多是出于两种文化之间的差异和碰撞，那么女儿们在面对强大的西方文化攻势时表现出的尴尬和困惑则体现了主流文化对“他者”的排挤。我们看到在影片中，女儿们虽然没有受过正式的中国传统教育，传统的道德观、价值观，乃至整个中华文化显得遥远、隔膜。但由于母亲们的言传身教、耳濡目染，这些传统还是在潜移默化地影响着她们的思想。这种被双重文化渗透，具有双重文化的意识，使得她们在用美国方式解决不了问题时，潜意识中的中国文化意识又会有所作用，双重身份注定使她们在两种文化之间寻求调和。

异质文化的交汇
文化身份并不是某一特定的文化具有的或某一具体的民族与生俱来的特征，相反，它有一种结构主义特征，是一系列彼此相关联的特征。霍米•巴巴认为，文化的“身份决不是先验的，也不是既成的，它只能是永远向着总体性形象接近的一个难以把握的过程。”⑧霍尔也说过，“主题在不同时间获得不同身份，统一自我不再是中心。我们包含相互矛盾的身份认同，力量又指向四面八方，因此身份认同总是一个不断变动的过程。”⑨在《喜福会》中，随着岁月的推移，每对母女最终都以和解作为故事的结尾，在一定程度上也象征了中美两种异质文化的交融。
君在母亲过世前不久才终于明白这二十几年来母亲对自己的良苦用心。正如“怎有女儿不了解自己母亲的”，世界上也不会有不了解自己女儿的母亲。中国传统的欲扬先抑、隐忍的教育方法在表面上将苏在君的眼中塑造成了一个冷漠的，对女儿极度失望的母亲，但苏却从来未曾放弃过她这看上去碌碌无为的女儿。因为只有她知道女儿的纯洁和善良，这是任何表面的能力都无法比拟的品质。而那个时候，君也终于明白了母亲对自己所有的期盼，不过是好好地生活下去。当她在麻将桌的母亲东首位置坐下的那一刻，我们似乎看到了女儿/西方已经开始认真接纳母亲/东方。当影片结尾君回到中国与她从未谋面的双胞胎姐姐拥抱相认的时候，双方口中共同喊出“妈妈（MaMa）”这一为所有语言所共有的语词，简单而有深意，是东西文化的交集之一。林多同样是一个倔强而不懂过多表达感情的中国母亲。受到小时候“下棋事件”的影响，二十多年来，薇莉一直以为母亲的一言不发就是代表她无声的反抗。所以她嫁给一个中国人来取悦她，但离婚的时候母亲失望的表情却让薇莉在很长时间里交了外国男友也不敢让母亲知晓。可是在林多心里，她虽然对薇莉的外国男友有着诸多不满——主要是由于其不懂中国文化和礼仪，但毕竟女儿的幸福就是母亲最大的快乐，林多最终对薇莉婚姻的宽容和接受在一定程度上也表现出了她对美国文化的接受和对两种文化差异的尊重。在李娜要爱情不要过度依赖的所谓平等婚姻中，正是母亲的一席话唤醒了她内心深处对真正感情的渴望，“尊重，温柔”才是她真正想要的。美国个人主义的平等自由并不是在所有地方都行得通。同样，在爱情婚姻中失去了自我的罗丝被母亲的故事深深震撼，那股流淌在她身体之中的中国人自强不息的血液让她彻底清醒，自己并不是社会，家庭之外的“他者”，她就是一个完整的个体。而她的自尊自强也最终重新获得了丈夫的爱情和尊敬。
赛义德曾说：“一切文化都你中有我，我中有你，没有任何一重文化是孤立单纯的，所有文化都是杂交性的，混成的。”⑩母女两代，过去和现在，东方与西方之间本来就是相互联系、密不可分的。母女之间经历岁月磨合最终所实现的认同实际上就是对中西两种文化的认同。只是这一认同并不是任何一方全盘接受对方的文化类型，而是重构了的只属于华裔这一群体的第三种文化。在固守传统文化的母亲身上，我们可以读到中西两种文化在冲突后逐渐相互渗透的过程；而女儿们的身上寄托着母亲们记忆和梦想的延伸，也继承了部分的中国传统文化价值，她们体内的中国人血液，迟早会因为找到归属感而沸腾，骨子里的中国文化也迟早会刺痛她们的神经。

结语
如果说《喜福会》里的母亲们代表了传统的中国文化，而这群女儿们代表的是现代美国文明，那么作者对于这种可用连字号连接的“中国的——美国的”现象的两级给予了同样的关注。谭恩美的这种关注，可以说打破了长期以来的“中心”和“边缘”对立的模式，在表面的文化冲突背后，实现了一种更深层次的文化认同。就像皮考•伊尔在美国《时代》周刊发表的《英帝国的文学反击》中所指出的，“后殖民作家是多元混杂的。他们并不站在特定地域的立场，而是处在对流动性日益增加的地球村便于反思的十字路口，而且他们进行反思的价值判断也是多元的，因而具有一定程度的不可界定性。他们是跨越双重甚至多种语言和文化传统的。他们在创作一种新小说，来对应一个新世界。”○11
美国是这样一个白人文化为主导，多元文化并存的社会，中国移民如何承续中华文化的优秀传统，并吸收美国文化的精髓，从而建构属于本群体的文化身份是许多华裔作家始终关注的问题。谭恩美无疑就是这样一位超国界的具有多元文化的洞察者之一。无论是小说还是电影，《喜福会》都通过一种异质文化的交汇，为读者和观众“提供了一张网，一张由不同名族，不同文化之间的对话构成的对抗着的时空网”。○12《喜福会》表现的不仅是年轻一代对漂泊无根记忆的追寻，也不仅是华裔在文化身份认同困境中的迷茫和挣扎，而是通过对两种文化融合的期盼表达了华裔们既不愿摒弃和隐匿中国文化身份，奴颜婢膝迎合主流文化以挤进美国主流社会，也不愿以固守华夏中国的文化来对抗白人主流文化的意愿。整部影片传递着一种主张淡化文化身份界定，消除文化对立，从而达到全球化的多民族文化相互交融和平共处的信息。

2. 电影《喜福会》影评翻译

1.影片开始，那随风飘动的鹅毛将我们带入了四对母女的故事中，而当影片结尾 June 手中的鹅毛缓缓飞向天空消失在我们的视野中时，也预示着两代人之间精神财富的递交。

1. The film begins, that animates goose will we into four in the story of mother and daughter, and when the end of their film June hands slowly to fly to the sky disappeared in our field of vision, when indicated between two generations the submission of spiritual wealth.

2.一场失败的钢琴比赛，一次无处宣泄的委屈，June 的母亲 Suyuan 从来没有在乎过她真实需求和内心感受。叛逆或许源于青春时代被磨灭的天性与自由，最后 June 与姐姐的团聚不仅圆了母亲 Suyuan 的夙愿，更是让 June 感受到了母亲的爱。

2. A failure piano competition, an expression of injustice, June is the mother Suyuan never care about her real needs and feelings. Rebellious youth was perhaps comes from the nature of the indelible and freedom, last June and his sister not only the mother Suyuan reunited round the long-cherished wish, it is to let June felt the mother's love.

3.Lindo 作为一位望女成凤的传统中年女性，挑剔，苛刻，看不惯女儿 Waverly 的方方面面，更是不满意自己的洋女婿。母女之间的代沟正是源于中国传统文化与美国开放文化的分歧。

3. Lindo as a hope of female ChengFeng traditional middle-aged women, picky, harsh, dismissive daughter Waverly many aspects, but also not satisfied with their YangNvXu. The generation gap between mother and daughter is originated from the traditional Chinese culture and American culture differences. Open

4.An Mei 的母亲自杀让她认识到了自身价值的意义，而她的女儿 Rose 结婚后同样迷失了自我，在母亲的开导下，雨中的沉思，大声的吼叫， Rose 找回了自我，实现了价值。

4. An Mei mother suicide let her know the own value sense, and her daughter started after marriage also lose myself, in the mother's channel, the rain, the roar of the meditation, huang xiaorong loud found himself, realize the value.

5.为了报复夺走她一切的丈夫，Ying Ying 溺死了他们的孩子，当她的女儿 Lena 陷入毫无尊重和理解的婚姻中，Ying Ying 又想到过去。离婚时追寻尊重，追寻幸福，正是追寻真爱的开始。

5. In order to take revenge all her husband, Ying Ying drowned their children, when her daughter Lena in no respect and understanding of the marriage, Ying Ying and think of the past. When the divorce, search for happiness, it is respect for the beginning of the true love.

3. 电影《喜福会》观后感

■对电影的理解：

这部电影讲述了4个女主人公，带着梦想和期望，带着自由的渴望，带着重新活出生命的期盼，来到了美国，这个在当时自由和民主象征的国度，想重新开始一段新的生活。

他们期望在这里重新开始的生活中改变自己的命运，她们把自己的期待放在他们的下一代女儿的身上。

但是他们不知道的是，他们曾经的那些经历和观念，深植于她们内心。她们对女儿的爱无疑是最伟大的，但是同时这种爱带着绑架，带着期盼，带着她们的想法和目的。

片中一位女孩子从小就表现出钢琴的天赋，一位女孩子从小就表现出下棋的天赋，但是这种天赋，被他们的母亲作为了攀比的筹码。作为了证明自己价值的存在。在这种价值观的影响之下，孩子失去了最初学习的动力，来自生命灵魂深处的那种学习的激情，被抹杀掉了，也被陷入在世俗的观念中，最终孩子对母亲产生了反抗。

但是这样的结果显然也是不能苛责于他们的母亲的，因为在她们母亲那样年代里，那样的经历下，自己无价值感的烙印深深的印在她们心中，她们急于想向外界承认自己是有价值的，而有价值的一个体现就是他们生了一个优秀的女儿，她们为了填补自己价值感匮乏的坑洞。

可以说她们这样做是偶然的，也是必然的。4个女儿在她们生命的成长过程中，同样复制了她们母亲的命运。她们对待生活的方式同样复制了她们母亲的模式，但是可喜的是最终母亲和孩子们都用爱做了一个非常好的转变，孩子因为从母亲那边得到的坚实的母爱，而内心产生了巨大的力量，做出了生命的抉择。

母爱的力量是伟大的，母亲真正希望的是孩子们活出她们自己的精彩，她们的生命能够自我绽放。

电影最后，女儿带着那根羽毛找到了她的两个亲生姐姐。那个带着母亲梦想和期望的，天鹅的羽毛交到两个姐姐的手上。再次说明了母爱的传承跟延续。

■我和这部电影里有什么相关的？

我同样有一个伟大的母亲，给我坚实的母爱，我母亲那个年代带来的那个社会的方式，生活环境，生活经历，和她的母亲所对待她的方式给她也留下了深刻的影响。

从我的母亲，再看到我的外婆，我的外婆，作为一个女性，坚强，倔强，执着，从来不贪图便宜，对外人非常的宽容，但是对家里非常的严苛，整洁干净，这样的一个性格，传承到我妈妈的身上，我妈妈同样很爱干净，很坚强，很倔强，不服输，性格很好强。同样也是非常强势的，控制型的。

从小我就活在我妈妈的控制之下，按照我妈妈所要求的那个标准去活着，因为控制，所以总是会看妈妈的脸色，行事以妈妈的标准为标准，在这样的一个情况之下丧失了自己的判断和主观性，我的性格变得唯唯诺诺，没有主见。按部就班的生活着。

然后生了孩子之后，我发现我的模式完全是复制了我母亲的模式。对孩子的态度语气啊，行为方式跟母跟母亲同出一辙，在我意识到这一点之后，我开始觉察，反省，开始了身心灵的学习。

但是旧的模式的作用力依然是非常强大的，即便我在主观思想上想去做一个对孩子包容，无条件的爱和自由的妈妈，不把自己意识强加给孩子的妈妈，但是潜意识里的那个控制，情绪都是不容易那么做到的，所以我仍然在这条路上，继续前行着。

■从这部电影中我悟到了什么？

从这部电影中悟到了想要孩子好，首先要成长自己，要把自己过去的一些错误的模式，信念先看到，觉察，让不好的信念慢慢消融。首先要有一个健康的自我，然后才能对孩子产生积极的影响。

如果不能面对自己的过去，把自己的过去深挖，改变自己过去的旧的模式和信念，让自己处在良好的自我健康状态，那么即便我在口号上多么高呼无条件的爱孩子，给孩子自由，让孩子活出真实的自己，那都是痴人说梦。

因为自己还是一身坑洞，一身破烂，自己的情绪都无法很好的处理，那在跟孩子互动的过程中，注意力都用在照顾自己，平复自己情绪上了，反而可能还把情绪转移到孩子身上，给孩子带来伤害。

所以我们唯一要做的是不断的成长自己。

4. 《喜福会》英文读后感

当看完一本着作后，相信大家都增长了不少见闻，此时需要认真地做好记录，写写读后感了。可是读后感怎么写才合适呢？下兆猛散面是我整理的《喜福会》英文读后感，欢迎大家分享。

《喜福会知绝》英文读后族氏感 篇1

Reading the novel is not the first time of my knowing The Joy Luck Club . When I watched the film , the meaning of the title , the theme of the novel , the reason for the arrangement of stories from four mothers and their daughters and other important things were all unknown to me . But I knew that was my type for it is about feelings between mothers and daughters , and especially chinese speaking Eglish .

Amy Tan , a Chinese American writer , is the author of the book in which she explors the mother-daughter relationships . Originally , the relationships between mother and daughter seem to be quite complex in a family but in Amy Tan"s work , it is perfectly typical for its portrayal of conflicts between the traditional Chinese mothers speaking shabby English and the open wholly Americanized daughters who just wear a Chinese face but speak fluent English . I never think it is richly dramatical , and instead these kinds of conflicts , in fact , truly ecists in many Chinese immigrants" family . The novel is written impressively and deeply especially , I think , in understanding of mothers" love for their daughters for reasons that the previous experience of her with her mother provided the basis for her novel . It is said that the exprience of anthor is similar to that of Jingmei woo . Maybe , the novel implies the deep and complex feelings of auther for her mother and her closest relatives in China .

It gives me a greatly deep impression that the book is begun with Feathers From a Thousand LI Away . It penetrates the mothers" hope and love for their daughters through a swan"s feather . Through the old woman"s words In America I will have a daughter just like me. But over there nobody will say her worth is measured by the loudness of her husband"s belch. Over there nobody will look down on her, because I will make her speak only perfect American English. And over there she will always be too full to swallow any sorrow! She will know my meaning, because I will give her this swana creature that became more than what was hoped for. and the mothers" former tragic sufferings , we will find that all the mothers are in hope of their daughters never suffering from their sufferings . And the mothers waited, year after year, for the day , they could tell their daughters it is their hope through a feather of the swan in perfect American English . At first , it is a little difficult to understand the reason for these words . However , through the whole novel , in fact , you will find the old woman represents the four mothers , the feather of swan embodies the hope of mothers for their daughters . These sentences show implicitly the feelings of author and her understandings for mothers . In fact , in the Joy Luck Club , the feather indeed is gained by Jingmei Woo . And from the beginning to the end ,the feather has been existing .

Only if one high-quality novel , like a perfect verse , needs you spending much time reading once more , you will understand something . I thought that the novel is loosely plotted and is in disorder . But the fact verifies that I am wrong . Through the whole story , the novel begins with the death of Jingmei"s mother and ends in Jingmei visiting China to see the twin-half sisters whom her mother had been forced to abandon when the Japanese attacked China many years ago . What"s more , in detail , the stories of four mothers and four daughters have relative connections in theme about love between them and the mothers" hope for their daughters . And the theme shows the comflicts and harmonization between different cultures .Then I think why the author titled the novel Joy Luck Club . I am puzzled by it and the purpose of writer . The name of club made mention of by Jingmei"s mother . And the author directly titling the novel the name of their meeting implies her feelings for her mother . I can guess that the title originated from a kind of hope or belief . According to mothers" former sufferings , they were not happy . Even at the present , all of them hides the previous tragic experiences . Maybe , the club is a place where they can pretend to be happy or avoid the past memory or worries or even the shock of culture .

Reading the novel is as we are reading our life and then think our past , present and futere . Especially , the conflict between Waverly Jang and her mother impresses me most . Waverly is a woman who is quite independent-mined and intelligent , but her mother"s constant criticism is terribly annoying . She once had a gift for international chess.however , when she realized her mother taking advantage of her achievement and talent to show off in public , especially to the strangers , she felt terribly ashamed and annoyed . She shouted to you can not make me . From then on , her mother felt cold at Waverly and were particularabout her favorite things . In fact , I think Waverly felt sacred subconsciously at letting her mother down and something that she did was aimed at flattering her mother . When waverly brought her boyfriend , Rich , to her families , her mother just smiled but she still was particular about Rich"s appearance , having many spots on his face . Description about the conflicts of manners between Chinese tradition and American notions has given me a greatly deep impression and quite interesting . These words of And then he had helped himself to big portions of the shrimp and snow peas , not realizing he should have taken only a polite spoonful, until everybody had had a morsel . vividly express the American character of being casual which counts as discourtesy in China . The part of Rich criticizing her mother"s cooking is quite funny and impressive . Our Chinese habit of making disparaging remarks seems to be extremely common . Being modest and avoiding showing off are parts of Chinese traditional manners . Her mother complaining about This dish not salty enough , no flavor , in fact , was a cue to eat some and proclaim it it the best she had ever made . But the Rich did not understand . From the following description of her mother being horrified , I judged that her mother was bly objective against Rich and even their marriage . Waverly also had such an opinion . But I am wrong and from their conversation I understand something more important . Mother is the only one that understands their daughters or sons in the world.And none of the mothers do not love their children . And the heaty conversattion can make a b bridge between the different generation or even the peonple from the different cultures . I find that if you would not like to tell your hearty words out , others are not able to know what you are and what you think . People each have different opinions about the same things . Waverly had thought that her mother disapproved of her marriage and hated her Rich . However , her mother"s meaningful words surprised Waverly and even me . Just be particular about who I really care for and love. It occured to me that whoever we hurt is always who we really love for reasons that others would not care for our complaint . Yes , who will care for those who you do not love ? The answer is known by us fron the beginning to the end . It is the love for Waverly that her mother has been showing her . Waverly , a wholly Americanized girl , never trully knew her mother and was ignorant of the love for her . Indeed , the language and the culture did make a great difference in the exchange of feelings , which is a terribly high barrier between Waverly and her mother , also between other three mothers and their daughters . But love and understandings , finally will prevail over others .

Personally , through the whole novel , the conflict between mothers and daughters , virtually , is that of the cultures between the East and the West . Mothers represent the classic, traditional Chinese culture but the daughters are the symbol of just , free , open and modern American one , which are two kinds of contradictory elements . However , through the whole novel , it is easier to find that finally they can understand each other and be in harmony . When Jing-Mei saw her twin-half sisters , she was surprised at this kind of familiarity . And now I also see what part of me is Chinese. It is so obvious. It is my family. It is in our blood. After all these years, it can finally be let go. shows that Jing-Mei understood her mother"s stubbornness and love and was struck by mother"s greatness . The resolution of the contradiction shows that the cultures of the East and the West can be in harmony with each other .

《喜福会》英文读后感 篇2

The first time I saw the title of the film, the Joy Luck Club, I thought that it would be a film filed with joy, luck and happiness. However, out of my expectation, in the film, I saw many unpleasant thingsconflicts, hardship, disappointment, sorrow, hurt, torture etc. Of course there were some moving parts, and fortunately, it was a happy ending. Anyway, I enjoyed it very much. It made me have a penetrating thinking.

The Joy Luck Club tells about the conflicts between Chinese immigrant mothers and their American-raised daughters and their struggling to understand each other. The film shows us these topics: the misunderstanding of love between the mothers and the daughters, the clash between the generations and cultures, and the struggle for the women to fight for equity. Now I am going to show you my understanding of them, emphasizing on the first topic.

In many cases, we and those we love are easy to hurt each other because of the misunderstanding of love, the conflicts in generations and culture background, or unconsciousness.

Take Jingmei and her mother Suyuan as an example. When Suyuan demands the little Jingmei to play piano, Jingmei shouts to her mother, You can’t make me! Even Jingmei cried that she wish she isn’t Suyuan’s daughter and Suyuan isn’t her mother, and that she wishes she were the dead like the babies Suyuan abandoned in China. The sad expression on Suyuan’s face indicates that she is hurt deeply by her daughter’s innocent words.

This reminds me of my similar experience. Once I hurt my mother as Jingmei did. I didn’t mean to hurt her, but those wounding words just slip out of my mouth unconsciously. Often, we hate that why our parents don’t know my feelings, why they like to make us be something and totally unaware that what their children are. While the parents don’t know why all their sacrifices to the children can’t be paid off, even incite hatred. Actually, this is the generation gap that causes the misunderstanding. We don’t know the hardship our parents underwent before. They can’t understand what we are thinking. So misunderstandings appear.

Maybe as a child, Jingmei cannot comprehend what her remarks mean to Suyuan, and just want to show her grudge. But another main reason is the different backgrounds of Suyuan and Jingmei bare. Chinese parents always like to put all their hopes on the next generation for they are the generation full with hardship and pain. All they do just want the children to be better, but they ignore that whether their children can accept or not, not along a child born in America, influenced by the American’s indivial freedom and knowing little about Chinese culture. The generation gap and culture conflict cause the misunderstanding of the mother and the daughter.

The other example is Waverly and her mother Lindo. Waverly tries her best to please Lindo in everything. Whether her mother approves or not becomes the master of all her choice. Even Waverly marries a Chinese man because Lindo likes Chinese, while she doesn’t love. Waverly doesn’t understand why Lindo disapprove or criticize whatever she has done. On the other side, Lindo thinks that her daughter is ashamed of her, which is her continual internal injury after Waverly’s winning that chess contest, when Waverly shouted to Lindo if Lindo wanted to show off, won the chest by herself. Every time, Lindo’s disagreement with or indifference to Waverly directly results from the thought that Waverly feels it shameful to be her daughter. Both of them deeply love each other, but in the meantime, they hostile and hurt one another. This is the way them get along with each other. Fortunately, they clear up their misunderstandings and discover themselves by communicating.

I am deeply moved by this scene:

Waverly Jong says to Lindo, sobbing,You don"t know, you don"t know the power you have over me. One word from you, one look, and I"m four years old again, crying myself to sleep, because nothing I do can ever, ever please you. And after a short period of silence, Lindo smiles to Waverly with tears in her eyes, Now, you make me happy. Then they laugh heartily, teary-eyed with happiness.

Seeing the old Lindo bursts out laughing, like a child, and Waverly laughs joyfully, I sincerely feel delighted for them. Love needs communicating, understanding, and tolerance, which is what I learn from them.

Along with above mentioned, the struggle for the women to fight for equity is also brought to the surface. For instance, Ying-ying encourages her daughter Lena to escape an unhappy marriage, not repeating the same mistakes she made in her first marriage. And An-mei tells her daughter Rose to learn to shout at the unfair fate, and express her own will because Rose has lost herself in her marriage. These two cases reveal that the women begin to release themselves from the restrains of being oppressed by the men and the old-fashioned thoughts as well as some Chinese traditional characters. Eventually, the women find their true value and win their own happiness.

View from the whole film, the title, the Joy Luck Club may just be the old generation’s hope of better life for the next generation. On the whole, this is a movie made specifically for women. It is worth our appreciation.

5. 喜福会，英语影评

The first time I saw the title of the film, the Joy Luck Club, I thought that it would be a film filed with joy, luck and happiness. However, out of my expectation, in the film, I saw many unpleasant things—conflicts, hardship, disappointment, sorrow, hurt, torture etc. Of course there were some moving parts, and fortunately, it was a happy ending. Anyway, I enjoyed it very much. It made me have a penetrating thinking.
The Joy Luck Club tells about the conflicts between Chinese immigrant mothers and their American-raised daughters and their struggling to understand each other. The film shows us these topics: the misunderstanding of love between the mothers and the daughters, the clash between the generations and cultures, and the struggle for the women to fight for equity. Now I am going to show you my understanding of them, emphasizing on the first topic.
In many cases, we and those we love are easy to hurt each other because of the misunderstanding of love, the conflicts in generations and culture background, or unconsciousness.
Take Jingmei and her mother Suyuan as an example. When Suyuan demands the little Jingmei to play piano, Jingmei shouts to her mother, “You can’t make me!” Even Jingmei cried that she wish she isn’t Suyuan’s daughter and Suyuan isn’t her mother, and that she wishes she were the dead like the babies Suyuan abandoned in China. The sad expression on Suyuan’s face indicates that she is hurt deeply by her daughter’s innocent words.
This reminds me of my similar experience. Once I hurt my mother as Jingmei did. I didn’t mean to hurt her, but those wounding words just slip out of my mouth unconsciously. Often, we hate that why our parents don’t know my feelings, why they like to make us be something and totally unaware that what their children are. While the parents don’t know why all their sacrifices to the children can’t be paid off, even incite hatred. Actually, this is the generation gap that causes the misunderstanding. We don’t know the hardship our parents underwent before. They can’t understand what we are thinking. So misunderstandings appear.
Maybe as a child, Jingmei cannot comprehend what her remarks mean to Suyuan, and just want to show her grudge. But another main reason is the different backgrounds of Suyuan and Jingmei bare. Chinese parents always like to put all their hopes on the next generation for they are the generation full with hardship and pain. All they do just want the children to be better, but they ignore that whether their children can accept or not, not along a child born in America, influenced by the American’s indivial freedom and knowing little about Chinese culture. The generation gap and culture conflict cause the misunderstanding of the mother and the daughter.
The other example is Waverly and her mother Lindo. Waverly tries her best to please Lindo in everything. Whether her mother approves or not becomes the master of all her choice. Even Waverly marries a Chinese man because Lindo likes Chinese, while she doesn’t love. Waverly doesn’t understand why Lindo disapprove or criticize whatever she has done. On the other side, Lindo thinks that her daughter is ashamed of her, which is her continual internal injury after Waverly’s winning that chess contest, when Waverly shouted to Lindo if Lindo wanted to show off, won the chest by herself. Every time, Lindo’s disagreement with or indifference to Waverly directly results from the thought that Waverly feels it shameful to be her daughter. Both of them deeply love each other, but in the meantime, they hostile and hurt one another. This is the way them get along with each other. Fortunately, they clear up their misunderstandings and discover themselves by communicating.
I am deeply moved by this scene:
Waverly Jong says to Lindo, sobbing,, “You don't know, you don't know the power you have over me. One word from you, one look, and I'm four years old again, crying myself to sleep, because nothing I do can ever, ever please you.” And after a short period of silence, Lindo smiles to Waverly with tears in her eyes, “Now, you make me happy.” Then they laugh heartily, teary-eyed with happiness.
Seeing the old Lindo bursts out laughing, like a child, and Waverly laughs joyfully, I sincerely feel delighted for them. Love needs communicating, understanding, and tolerance, which is what I learn from them.
Along with above mentioned, the struggle for the women to fight for equity is also brought to the surface. For instance, Ying-ying encourages her daughter Lena to escape an unhappy marriage, not repeating the same mistakes she made in her first marriage. And An-mei tells her daughter Rose to learn to shout at the unfair fate, and express her own will because Rose has lost herself in her marriage. These two cases reveal that the women begin to release themselves from the restrains of being oppressed by the men and the old-fashioned thoughts as well as some Chinese traditional characters. Eventually, the women find their true value and win their own happiness.
View from the whole film, the title, the Joy Luck Club may just be the old generation’s hope of better life for the next generation. On the whole, this is a movie made specifically for women. It is worth our appreciation.

6. 《喜福会》

第一次看电影《喜福会》就觉得非常震撼，尽管它拍摄于八、九十年代。后来每次重温都有不同的收获——借助电影中的故事，来进行自我的探索和疗愈。

电影通过四个华裔家庭，三代母女的故事，让我们看到女性集体无意识中的阴影、创伤以及觉醒。

四对母女表达着四种不同的母女关系

01

取悦：在获得认可与被掌控的夹缝中

在这四个家庭的故事各有不同的主题，第一个故事中我们看到妈妈林多和女儿Wanerly之间的矛盾。

妈妈林多出生在旧中国，家境贫穷从小就被有钱人家定为童养媳——负责生养孩子、服侍公婆的工具。

林多不同于传统中逆来顺受的女性，尽管被当做童养媳，仰仗男人的鼻息来度日，但是她叛逆的勇气和力量，让她面对压迫、羞辱、践踏时对自己发誓：我不会被恐惧所统治，我要自己决定自己是谁。

但我们也能看到由于童年的经历，形成的阴影和创伤：我是被抛弃的，妈妈为什么要抛弃我？……在林多的童年中，妈妈始终不能和她亲近，把所有的爱都压抑起来，表现出来的是对她不断的挑剔和不在意：“谁会喜欢你，谁会想要你？”

面对这样的内在空洞，林多选择掌控一切来保护自己。于是，在和女儿的关系中，完全复制了她的母亲对待她的态度：脸上总是有一种不在意的、冷漠的表情，不论女儿在做什么，总能够挑出不满意。

虽然林多的女儿和她一样，也有着斗争到底、击溃对手的个性，但是面对妈妈，无论她怎么样的反抗，妈妈总是有着完美的对付手段，把她打败。

就这样女儿活在了妈妈无意识的魔咒中，一方面总是在与妈妈抗争，但是另一方面，内在渴望妈妈的爱——我要你喜欢我，我要你认可我，我要你爱我。因此无意识中又总在努力取悦无法被取悦的妈妈。

这样的轮回只能在觉醒时被打破。

不知道你是否也经历过这样特别掌控的成长环境，而又总是在取悦你的父母，如果你有类似的这个经历，借由这个故事，内在有一些部分会被触动，有些被埋藏的很深的伤口可能会借此机会被看到。

那么此时我们就需要做一些自我照顾、自我关爱的工作，将照顾好自己、对自己理解和看见的力量稳稳的收获在自己的心里。

02

恐惧：情感控制下解体的自我

第二个故事的主人公莺莺，年轻时爱上了一个以虐人为乐男性，在这段关系中她备受侮辱和背叛，最后甚至失手失去了自己的孩子，精神也变得时而异常。

近年的热词——PUA，它指的是在关系中，以一种精神上虐待、打压的方式来进行情感的控制，这就好像一种霸凌的这种行为，是关系中不平等权利之下，对弱势一方的欺凌和压迫。

在这种欺凌、压迫、情感控制之下，一方就会沦为另一方的工具，自我会完全被解体，自以为自己什么都不是，只是沦为了对方施虐的工具。

多年后莺莺来到美国有了新的家庭和孩子，但是在发病的时候她就好像完全就没有了灵魂，没有能力在精神上，情感上陪伴、给予自己的孩子任何关爱呵护和照顾。所以，她的女儿Lina的童年也备受惊吓和忽视。

Lina在成年后有了自己的家庭，但是和先生在生活中一切的开支都平分支付，表面上这样做是避免“错误的依赖”，是为了两人更加独立、平等、公平，但实际上由于Lina害怕失去自己从未获得的爱，而不能表达自己的界限和需要，不能拒绝对方不公、不尊重的行为。

这就好像复制了莺莺曾经不敢拒绝，伸张自己的权利与需要，从未从中获得过尊重，真爱和柔情，但非常恐惧失去“爱人”失去关系。

故事的最后觉醒的妈妈鼓励女儿，让她意识到：

在自己的恐惧之下，

有纵身一跃犹如猛虎的力量，

拿到这个力量突破恐惧，

便是在释放她的自由的灵魂。

03

隐忍：对自我价值的无视

第三个故事的主题是隐忍，主人公安美在童年基本上没有什么妈妈的记忆。从四岁开始她跟随外婆、舅舅、舅妈生活，大家教给她的是母亲是一个坏女人，不应该被记得，应该被恨，应该被唾弃。可是在内心中，她却对母亲抑制不住的好奇、想念。

有一天，妈妈终于回来了，她不顾一切和妈妈一起来到了她生活的地方，才了解了妈妈的故事。

妈妈被骗至有钱人家做了四太太，一切受人摆弄、被别人剥夺。最终，为了给孩子不同于自己被羞辱、践踏、剥夺的人生，妈妈选择杀死自己。所谓的杀死自己，就是杀死自己这个无力，任人宰割的微弱灵魂，以此唤醒安美能够主宰自己的强大灵魂。

面对妈妈的死，安美爆发出对付压迫、欺辱的力量，呐喊着不放过逼死妈妈的兇手。

而在这之前，她所受到的教育就是传统的中式教育，被要求无欲无求，忍气吞声，打碎牙往肚子里咽。

后来，安美来到美国安家生子，她以相反的方式教育自己的女儿萝丝。但女儿在不同程度上依然复制了家族中女性对自己价值的无视。

因此在她的婚姻中，一味付出，放弃自己的做法让她显得那么渺小，不重要、没有价值。即便萝丝交出自己的全部来祈求对方的爱，但是这并不能获得对方的尊重，因为无视自己是在告诉对方：我与你比起来没有价值，不值得尊重。

看似在这段关系中萝丝在无私地奉献爱，

但是这到底是在无私的奉献，还是因为在这个关系中，对方外在所具备的外在光环让自己显得很渺小而怯懦呢？

这到底是在奉献爱，还是在怯懦的无视自己的价值？

如果说安美的妈妈用自己杀死自己微弱的灵魂的方式来唤醒了安美，那么，安美则用自己妈妈的故事再一次去唤醒自己的女儿萝丝，让她意识到自己的价值。

04

期许：期盼下的重压

最后一个故事的主题是期许，电影的开篇，有这样的一段话外音：

一位妇人多年前在上海曾经花费不菲买下了一只天鹅，市场的鹅贩吹嘘着，你瞧这只天鹅，美的让人不忍下肚.......妇人抱着天鹅漂洋过海，满怀期盼的前往美国，开始她的新的生活。

途中，她对天鹅说：在美国，我会有个像我的女儿，在那儿，她无须仰仗丈夫的鼻息度日，没有人会看低她，因为她会说的一口流利的英文，我要让她成为一只比期望中还要好上100倍的天鹅。

到了美国，这只天鹅被官员收走，妇人只留得这个天鹅身上的一只羽毛，虽然这只羽毛看上去不值钱，但是她却非常珍视它。

从这一段画外音中，我们可以看到，素媛对自己的女儿有多大的期盼，希望能把最好的给自己的孩子，同时也希望自己的女儿成为最好的。

然而这期盼也成了她和女儿之间最大的鸿沟，因为在这种期盼的重压之下，女儿反而认为她是妈妈最大的失意。在期盼之下，女儿感受到的是透不过来气的压力。

可以说，期许、期待是父母在养育孩子的过程中逃不开的主题，也许每个时代父母期许孩子的内容不一样，但无意识中我们总会将自己人生中的遗憾、渴望投注到自己的孩子的身上，因为我们觉得孩子是我们生命的延续，而忽略了生命的意义在于成为自己。

无疑我们会从这部并不轻松的电影中看到女性集体的创伤、阴影，看到家族中一代代复制的的力量，传承的家族能量。

但更重要的是，每一位母亲都在为自己、为自己的孩子做出努力，从复制中醒来，转化复制的能量。

而觉醒，就是从无意识的洪流里，透过个性化的表达跳出无意识的洪流，不再受集体无意识的推动，去活出生命本身的意义。

7. 英文电影《喜福会》总结，分析！

书中语言的智趣、机敏、传神、幽默，让我数度体验到了阅读的赤裸裸的愉悦，生动、逼真的细节，想象力的绮丽，时常令人叫绝。她的叙述从容不迫，有棱有角、细腻而不显琐屑，而书中变换着的完全由第一人称进行“讲故事”的不同叙述角度，让我体验到的同样是一种心灵的放松与自由（让我想起小时候，冬夜里围着火炉，我们全家人听父亲讲故事的情景）。这种“放松与自由”为我进一步理解作者写作的意图——对一个（不，是很多个）故事的思考——作好了充足的铺垫。
《喜福会》可以看做由四条交织着的发展线索拧成的一根绳子，这根绳子也就是“母亲与女儿”之间在岁月流逝及空间转移中的发展关系。而“喜福会”这个由四个中国母亲操办起来的纯粹中国式的聚会，无疑就成了编织这根绳子的最好的开端（故事的切入点）。四对母女——总是由女儿的口吻讲述自己与母亲（母亲再与女儿）浓得化不开的情感瓜葛，然后在这种“成长与背离”的日常生活的生动描述中延展出东西文化的碰撞、交融及嬗变的主题。是的，在美国的土地上，四个中国母亲用各自“心灵的沧桑”，总是想把自己的“美国女儿”塑造成“中国风景”，而美国的土壤毕竟是美国的土壤，无论中国母亲怎样努力，女儿们最终还是要长成美国式的，因为连母亲们自己也总是会在不知不觉中讲起“蹩脚的英语”（两种文化的交锋最直接地体现在两种语言的交锋上，谭恩美应该是深谙这一点的。她说：“我为日常生活中的语言所迷。我把大量的时间用于思考语言的力量——它激起一种情感、一个视觉、一个复杂想法或一个简单真理的方式。”）但女儿们不得不承认中国的“传统文化”（总是随着她们母亲的身影）仍然存留在她们的血脉里，无论凝固着还是流淌着，这种情感总是抹之不去。“……她是我的孩子，她天生是女孩；我又是我母亲的孩子，天生也是女孩。我们就像台阶一样，一级又一级，上上下下，但走的都是一条路。”谭恩美借用小说中人物的言语，说出了这种无法割舍的（可以抛除小说的一切外在形式的）“情怀的真理”。
小说塑造的四对母女形象，她们呈现的迥异个性，都写得妙趣横生、血肉丰满。谭恩美绝对是个讲故事的高手，我们可以发现在她那些紧密相扣的故事中，又穿插了很多——母亲讲给女儿的小故事——这些故事完全是东方式的“古怪和神秘”，是果实的核（一种永远生植在她们大脑里的“文化梦魇”），被婉婉道来、层层铺展，生趣盎然。这是除小说的语言魅力，另一层吸引我的独特之处。
谈到小说的语言魅力，我可以举出很多展现谭恩美才华的神来之笔。比方说她写女儿对母亲的敬畏，女儿想让母亲接纳自己男友时的忐忑心理，形容男友容易被忘掉，“就像葬礼上某个人的侄子”；写女儿对母亲的抗争：“我说这话时有点怕，像是把蚕、蟾蜍或者别的讨厌的东西从嘴里吐出来。”；写母亲了解自己的女儿：“如果我想记住什么，就像在碗里寻找你没吃净的饭粒一样容易。”……这些精彩的笔墨，我想只有谭恩美这样对两种语言有过独到感受的作家才能写得出来的，她掌握了将日常细微的生活，转移到语言的核心上来的力量。还有一点需要补充的是，《喜福会》是谭的处女作，有点横空出世的味道，这本书曾连续9个月被列入《纽约时报》畅销小说排行榜首，并获“全美图书奖”等奖项。
当然，我也看到了《喜福会》中的一些瑕疵，在这里暂且略去不谈，我只想将自己阅读的愉悦（我偶然获得的无限惊喜），与喜欢读小说的朋友分享。
Between mother and daughter 奇瑰 story
In the book the language wisdom interest, was resourceful, is expressive, is humorous, lets my several experience the reading naked joyfulness, was vivid, the lifelike detail, the imagination beauty, often make person 叫绝. Her narration is unflustered, 有棱有角, is exquisite but does not reveal trivially, but in the book transforms completely carries on " tells the story " the different narration angle by the first person, lets me experience similarly is one kind of mind relaxes with is free (lets me remember childhood, winter night gathers round stove, our whole family listens to father to tell story scene). This kind " relaxes with is free " for me further understands the author writes the intention - to one (, was not very many) the story ponder - finishes the sufficient upholstery.
One string by four which " happy luck meets " may consider as to interweave the development clue twists, this string also is " the mother and the daughter " between passes and in the spatial shift development relations in the year. Four pair of mother and daughter - always are not narrate by daughter's 口吻 oneself with the mother (mother again with daughter) is thick the emotion connection, then " the growth with departs from " in the daily life vivid description extends the display thing culture in this kind the collision, blends and the evolution subject. Yes, on USA'S land, four Chinese mother with each one " the mind vicissitudes ", always is wants " the American daughter " to mold own " the Chinese scenery ", but USA'S soil after all is USA'S soil, regardless of Chinese mother how diligently, daughters finally or do have to grow into USA -like, because continually mother own also always is can in unconsciously center say " inferior English " (two kind of cultural confrontation most direct terrains now in two languages confrontation, Amy Tan should be deeply knows by heart this point. She said: " I confuse for the daily life in language. I use in the massive time to ponder language strength - it arouses one kind of emotion, one visual, one complex idea or one simple truth way." But the daughters can not but acknowledge China " the traditional culture " (always was along with their mother's form) still preserves in them blood vessels, regardless of coagulated or the flow, this kind of emotion always was wipes does not go. "... She is my child, she inborn is the girl; I again am my mother's child, inborn also is the girl. We like the stair same, one level of another level, every one, but walks all is one road." Amy Tan borrows in the novel character's spoken language, said this kind is unable to shear the shed (may throw eliminates novel all external forms)" the mood truth ".
The novel molds four pair of mother and daughter images, they present the different indiviality, all writes full of beauty and significance, the flesh and blood is plentiful. Amy Tan absolutely is the master which tells the story, we may discover these close buckles in her in story, also alternated the very many - mother says for daughter's small story - these stories completely is east the way " is strange and is mystical ", was the fruit nucleus (one kind forever lives plants in their cerebrum " cultural nightmare"), came by 婉婉 the road, layer upon layer to spread out all over, 生趣盎然. This is eliminates the novel the language charm, another attracts me uniquely place.
Talks about the novel the language charm, I may point out very unfold the Amy Tan talent the god come the pen. For instance she writes the daughter to mother's respect fear, the daughter wants to let the mother admit when the oneself boyfriend's disturbed psychology, describes boyfriend is easily forgotten, " likes at the funeral some indivial nephew child "; Writes the daughter to mother's resistance: " I said when this saying a little fears, the picture is the silkworm, the toad or other repugnant thing puts out from the mouth." Writes the mother understands oneself the daughter: " If I wants to remember what, the picture seeks you in the bowl has not eaten the grain of cooked rice equally is only easy." These splendid words, I want only to have Amy Tan like this have the original feeling writer to two languages only then can write obtain, she will grasp the daily slight life, shifts strength which came up to the language core. Also has one point needs to supplement, " happy luck meets " is Tan's maiden work, a little 横空 is born the flavor, this book continuously 9 months was once included " New York Times " the bestselling novel rank first place, and won " the entire American books prize " and so on the prize item.
Certainly, I also see " happy luck met " the center some slight defect, for the time being leaves out in here does not discuss, I only wanted to read joyfully own (I accidentally obtain infinite am pleasantly surprised), with liked reading the novel the friend share.

8. 喜福会读后感1000字

《喜福会》是一本由[美]谭恩美着作，外语教学与研究出版社出版的平装图书，本顷裂书定价：42，页数：313，特精心从网络上整理的一些读者的读后感，希望对大家能有帮助。

《喜福会》读后感(一)：华裔女作家代表作

最近对一代美国华裔和二代之间的故事很感兴趣，买了谭恩美的《喜福会》和《接骨师之女》以及新晋女作家伍诗绮的《无声告白》。我想探寻在那个动荡年代到美国的母亲们和美生孩子之间发生的文化冲突和身份认同的内容，以及时空变迁人生跌宕起伏命运带给人们的影响。谭是一个很会讲故事和善用东方元素的作家。 小说很值得读，光看电影（也很推荐）会错过很多蕴含在语言文字中的，作者的写作智慧和更仿乎改多的可捕捉到的人的内心世界～

《喜福会》读后感(二)：再谈“喜”“福”记忆

第一次认识这四对母女，是在一节关于女性主义的大学选修课上，老师讲了什么已经不记得了，只记得了俞飞鸿一袭白色旗袍、一头乌黑秀发和一副盛世美颜。趁热打铁，在大学的图书馆里读到了这本书，听这四对母女讲述跨越国家、绵延四代女性的故事。七八年后的重温，再谈记忆，是他们的，也是我的。

母女之间，又可能成为密友，也是极有可能成为仇敌的，母亲是带着从经历中明白的观点与道理来指导涉世未深的女儿为人处事之道，女儿却会觉得环境的日新月异会让母亲的想法变得陈旧而企图反抗落后的母亲，和平年代尚且如此。这四对跨越国家跨越经历跨越思想的母女，用一套组合拳的方式向我们讲述了两条鸿沟，一条是中国与备判美国，一条是母亲与女儿。

第二遍读，终于通过梳理将四位母亲的经历与四位女儿的经历对上号，读到了那个时代的故国与家庭环境带给他们经历上的殇，拥有着各自独特的经历他们来到美国孕育性格迥异的下一代，他们或温顺、或强势、或软弱、或无力······故国情与母女仇，一场中国人的她们与美国人的下一代之间在行为和思想上的对抗，最终走向的是和解的美好结局。原生家庭给予的伤与痛得到了及时止损，我想这才是“喜”“福”的意义，是美好的期待与祝愿。给予我的启示则是，也带着原生家庭给我的自卑害怕与彷徨，在成长中看清了自己、明白了许多的道理，本来还徘徊着不愿意迈开新的步伐，以为自己会做不到，但如今我愿意去接受挑战，挑战打破固有思维的全新之旅。

《喜福会》读后感(三)：同方向遭际，共希求喜福

吴宿愿——June

即便女儿未如母亲所愿成为超越他人期待的天鹅，母亲依旧能看见女儿选择坏螃蟹的独一无二风格，给予全部的期望与祝福。

许安梅——Rose

幼年安梅脖颈上的伤疤、母亲的割肉喂母，肉体的痛苦随时间淡化，爱恨的系联绵绵无期。母亲吞食自己脆弱的灵魂，换取女儿坚强的内心。

——命运取决于期望与漠视，必须自己思考该怎样做，如果要别人告诉你就表明自己没有努力去尝试。【认识自己的价值，感情的轻贱不取决于地位的高低】

江林多—— Waverly

为不对迟早不属于自己的东西产生奢望，母亲从协议的那天起便将她视为外姓人。信守对父母做个好媳妇的诺言，也不遗忘自我。

——知晓规则，运用规则，让对手都不知自己是如何满盘皆输的，放弃再重启并不轻易。

莹映——Lina

母亲教育女儿一个人总想着自己的需要是不对的，女孩子永远不可以提要求。【为了复仇夺取对方心爱】

——平分账单并不意味着剥除爱情中虚幻的依赖成分，温柔和尊重的平等相待才是真正希求。

9. 征求电影《幸福会》（Joy luck club）中文影评

电影讲的是两代人，或者确切地说，四对母女的生活。妈妈A是童养媳，14岁时嫁给一个小男孩，天天被婆婆责骂没有生孙子下来，于是她想了个办法，说祖宗认为他们的婚姻会给这家人带来灾祸，于是她总算换来自由，后来去到美国。女儿A小时候是国际象棋天才，由于妈妈经常炫耀她的成绩，心生反感，跟母亲大吵，拒绝再下棋，等到想下棋的时候，发现天赋已经不再跟随她。长大后，母女俩一直处处矛盾，女儿想取悦母亲，但屡屡失败，直到她再婚，带来一个洋女婿，洋相百出，以为母亲会反对，结果却意外发现母亲很喜欢她的丈夫。两代人的隔阂从此打破。妈妈B年轻的时候嫁给了一个浪荡子，绝望之际亲手溺死了自己的儿子。离婚后来到美国，又再婚。但常常会陷入对过去生活的痛苦回忆之中。女儿B嫁给了一个赚钱很多的男人，但是这个男人把家里的所有开支都平分，送了一只猫给她做礼物，但是猫粮由女人来掏钱买，男人把家里装饰成铁灰色，厨房里贴着账单，连冰激凌都是两人一起付账，尽管女人不吃冰激凌。妈妈来到女儿家，看到如此情形，问女儿为什么要跟这个男人结婚，到底要什么？离开这个男人，会有别人珍惜她。女儿幡然醒悟。妈妈C的妈妈新寡不久嫁给一个富豪家做姨太太，从此被家人唾弃。但C从来不痛恨妈妈，直到有一天妈妈把她接到新家，她目睹了妈妈的地位，应该说无地位可言，妈妈用自杀来教育C坚强，珍惜自己的价值。C成了新家里让人不敢轻视的人。C到美国后也生了女儿，女儿嫁入豪门，但是为了迎合夫家的地位和交际，渐渐失去自我，婚姻也面临危机。C把自己母亲的故事告诉女儿，女儿赫然认识到自己的价值，因为正是自己的与众不同吸引了出生豪门的丈夫，她找到了自我，也赢回了丈夫。妈妈D在战争时期逃难的途中由于身患赤痢，不得不遗弃了一对双胞胎女儿。到美国后又生了一个女儿，关于她们的故事很零散，只是在电影里穿针引线，妈妈D逝世后，女儿D回到中国，找到了双胞胎姐姐，电影结束。“喜福会”是四个老太太平时打麻将聚会的Party名称。这部电影里四对母女的不同故事可以说是表现了代沟，以及世事沧桑是如何填平代沟的。也可以看出不同性格的女人的不同命运，妈妈A倔强不服输，因此能冲破不幸的婚姻，也因此和女儿难以融洽相处；妈妈B单纯因而婚姻痛苦，所以能提醒女儿思考自己的婚姻迹槐是为了什么；妈妈C勇敢坚韧独立，所以她知道女儿迷失的是自己的本真；妈妈D坚忍善良，代表了典型的中国女性形象。这样看来，电影主要讲的还是老太太们的命运。这么多故事是在喜福会的一次聚会上穿插带州源讲述的，因此尽管这么多人物的命运跌宕起伏，整个电影的调子还是温馨温暖的，女人们穿着中式的旗袍或者裙子，乌发如云，耳环、项链、手镯或金或玉，说的是英文，吃的有螃蟹，也有蛋糕。中西混杂，新旧混杂。妈妈们还是中国的妈妈们，女儿们则几乎完全美国化了，她们的观念是美国的，她们甚至听不懂中文，她们是American Girls。但是这并不妨碍母亲们用她们的观念来教育和感化她们。尽管电影的很多细节和情节设置非常好莱坞化，然而在美国的这两代中国女人的生活和命运就像风筝一样，飞得再高再美，始终有一根线牵着，这根线就是根，中国的根。所以，在好莱坞和中国传统观念、英语英语和中国面孔、中国装扮的冲突和交融蠢态下，《喜福会》还是一部蛮好看的电影。

10. 电影|喜福会

Y zoe  Under the clitoris   2019-07-09

按： 这篇写于2017年12月，未做改动。 《喜福会》给我的第一感觉就是“惊艳”二字，就像《末代皇帝》里穿着清朝服饰的格格嬷嬷们说着一口流利的英语一样惊艳。 场景、年代的转换对我而言是视觉盛宴。 看完文章感兴趣的可以去看看电影和原着，不过这一部我更喜欢电影。

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喜福会，这个充满中国审美趣味的名字。这部电影、这本书在美国引起长时间的关注。这让我想起同样在美国获得声名的林语堂。《唐人街》里面的中国人，无疑是那个年代的边缘人物，一群与主流社会无关的中国人，他们是生活的蝼蚁，但他们仍是生活在美国的中国人。另一位生活在美国的华人作家张爱玲在《私语》中写道：“我要比林语堂还要出风头。”怀着雄心壮志来到美国的张爱玲，却没有那么幸运。她写的同样是中国人，却不是生活在美国的中国人，而是她记忆中的中国人、生活在遥远祖国的中国人。那是美国人无从想象的一个世界、一种处境、一种生存状态。

《喜福会》是林语堂式的成功。

电影中场景的变换，是视觉的冲击。四十年代的中国，几十年后的美国，时间、空间的错位，刺激着观者的好奇心。电影的主线则是“喜福会”，源自40年代战火纷飞的桂林，四个年轻的女人，为了对抗无望的生活。它的寓意像名字一样，渴望着喜气与福气降临在生活中，这样的祈求在战乱年代显得格外的奢侈。而她们的生活也是奢侈的，“寓意长寿的面条、比喻得贵子的煮花生、象征着美满富裕生活的福橘”变着花样的捣腾能找得到的吃的。这有着极强的画面感，格格不入，却有着异样的情调。吴宿愿，这个“喜福会”的开创者，将这符合中国人思想观念的美好祈愿带到千里之外的美国。

影片的开始则是最近的一次喜福会，喧嚣而热闹。忽然的游离，回忆自己的过去，话外音讲述着每个人成长的故事，母亲的、女儿的。

这可能是我看过的少数的电影比原着要好的。相比于书，电影的意境更为深远，四对母女之间的关联和冲突也更为强烈。母亲历经苦难，来到美国，过着不十分体面的生活。女儿“从小到大只说英语，喝下的可口可乐比她经历过的痛苦多得多。”母亲、女儿完全两种成长背景，女儿不了解母亲的过往，母亲也不理解女儿的情感，是不同于普通母女的另一种疏离。“我真想对她说：我们双方都迷失了，她和我。我们互相既看不见对方也不想去看，既听不见也不想去听，不仅互相之间不理解，也不为周围其他人所理解。”即使是这样，女儿们仍旧是中国人，她们的身体里有古老的中国血脉。这让我想起张爱玲描述自己祖先的一句话：“他们只静静地躺在我的血液里，等我死的时候再死一次。我爱他们。”这是很巧妙的一句话，在我看来这类似于“集体无意识”、“原罪”这种概念，一种冥冥之中的机缘。这样相同的血脉在牵扯着母女双方。

这部电影不止是对原着的改编，它比原着更完整。