题目内容
（请给出正确答案）
This was the last public ______ the president made before his term of office ended.
A．appearance
B．engagement
C．gathering
D．conference
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更多“This was the last public ______ the president made before his term of office ended.A．appea”相关的问题
What does the word "outlay" in the last sentence mean？
A．Less profit.
B．Money spent for a purpose.
C．More profit
D．No profit.
In the last two paragraphs of the passage, the author______.
A．concludes the problem and puts forward some suggestions
B．restates the topic and raises his/her doubts
C．summarizes the causes for the problem and its effects
D．summarizes his/her argument and invites further discussion
What nobody foresaw was that Bergman would find a variety of ways to circumvent his own retirement—directing television movies, staging theater productions, and writing screenplays for other filmmakers to direct. His latest enterprise as a screenwriter, Sunday's Children, completes a trilogy of family-oriented movies that began with Fanny and Alexander and continued with The Best Intentions written by Bergman and directed by Danish filmmaker Bille August.
Besides dealing with members of Bergman's family in bygone times—it begins a few years after The Best Intentions leaves off—the new picture was directed by Daniel Bergman, his youngest son. Although it lacks the urgency and originality of the elder Bergman's greatest achievements, such as The Silence and Persona, it has enough visual and emotional interest to make a worthy addition to his body of work.
Set in rural Sweden during the late 1920s, the story centers on a young boy named Pu, dearly modeled on Ingmar Bergman himself. Pu's father is a country clergyman whose duties include traveling to the capital and ministering to the royal family. While this is an enviable position, it doesn't assuage problems in the pastor's marriage. Pu is young enough to be fairly oblivious to such difficulties, but his awareness grows with the passage of time. So do the subtle tensions that mar Pu's own relationship with his father, whose desire to show affection and compassion is hampered by a certain stiffness in his demeanor and chilliness in his emotions.
The film's most resonant passages take place when Pu learns to see his father with new clarity while accompanying him on a cross-country trip to another parish. In a remarkable change of tone, this portion of the story is punctuated with flash-forwards to a time 40 years in the future, showing the relationship between parent and child to be dramatically reversed: The father is now cared for by the son, and desires a forgiveness for past shortcomings that the younger man resolutely refuses to grant.
Brief and abrupt though they are, these scenes make a pungent contrast with the sunny landscapes and comic interludes in the early part of the movie.
Sunday's Children is a film of many levels, and all are skillfully handled by Daniel Bergman in his directional debut. Gentle scenes of domestic contentment are sensitively interwoven with intimations of underlying malaise. While the more nostalgic sequences are photographed with an eye-dazzling beauty that occasionally threatens to become cloying, any such result is foreclosed by the jagged interruptions of the flash-forward sequences—an intrusive device that few filmmakers are agile enough to handle successfully, but that is put to impressive use by the Bergman team.
Henrik Linnros gives a smartly turned performance as young Pu, and Thommy Berggren—who starred in the popular Elvira Madigan years ago—is steadily convincing as his father. Top honors go to the screenplay, though, which carries the crowded canvas of Fanny and Alexander and the emotional ambiguity of The Best Intentions into fresh and sometimes fascinating territory.
Bergman completed a trilogy of family-oriented movies during______.
A．more than ten years
B．the bygone times
C．the late 1920s
D．his own retirement
What nobody foresaw was that Bergman would find a variety of ways to circumvent his own retirement—directing television movies, staging theater productions, and writing screenplays for other filmmakers to direct. His latest enterprise as a screenwriter, Sunday's Children, completes a trilogy of family-oriented movies that began with Fanny and Alexander and continued with The Best Intentions written by Bergman and directed by Danish filmmaker Bille August.
Besides dealing with members of Bergman's family in bygone times—it begins a few years after The Best Intentions leaves off—the new picture was directed by Daniel Bergman, his youngest son. Although it lacks the urgency and originality of the elder Bergman's greatest achievements, such as The Silence and Persona, it has enough visual and emotional interest to make a worthy addition to his body of work.
Set in rural Sweden during the late 1920s, the story centers on a young boy named Pu, clearly modeled on Ingmar Bergman himself. Pu's father is a country clergyman whose duties include traveling to the capital and ministering to the royal family. While this is an enviable position, it doesn't assuage problems in the pastor's marriage. Pu is young enough to be fairly oblivious to such difficulties, but his awareness grows with the passage of time. So do the subtle tensions that mar Pu's own relationship with his father, whose desire to show affection and compassion is hampered by a certain stiffness in his demeanor and chilliness in his emotions.
The film's most resonant passages take place when Pu learns to see his father with new clarity while accompanying him on a cross-country trip to another parish. In a remarkable change of tone, this portion of the story is punctuated with flash-forwards to a time 40 years in the future, showing the relationship between parent and child to be dramatically reversed: The father is now cared for by the son, and desires a forgiveness for past shortcomings that the younger man resolutely refuses to grant.
Brief and abrupt though they are, these scenes make a pungent contrast with the sunny landscapes and comic interludes in the early part of the movie.
Sunday's Children is a film of many levels, and all are skillfully handled by Daniel Bergman in his directional debut. Gentle scenes of domestic contentment are sensitively interwoven with intimations of underlying malaise. While the more nostalgic sequences are photographed with an eye-dazzling beauty that occasionally threatens to become cloying, any such result is foreclosed by the jagged interruptions of the flash-forward sequences- an intrusive device that few filmmakers are agile enough to handle successfully, but that is put to impressive use by the Bergman team.
Henrik Linnros gives a smartly turned performance as young Pu, and Thommy Berggren- who starred in the popular Elvira Madigan years ago—is steadily convincing as his father. Top honours go to the screenplay, though, which carries the crowded canvas of Fanny and Alexander and the emotional ambiguity of The Best Intentions into fresh and sometimes fascinating territory.
Over the years critical views of Bergman's work have
A．without exception been positive.
B．deplored his seriousness.
C．often been antithetical.
D．usually focused on his personality.
What nobody foresaw. that Bergman would find a variety of way, to circumvent his own retirement director television movies, tailing theater production, and writing screenplay, for other filmmakers to direct, Hi, latest enterprise as a screenwriter, Sunday', Children, complete, a trilogy of family-oriented movie, that began with Fanny and Alexander and continued with The Best Intentions written by Batsman and directed by Danish filmmaker Bille August,
Beside, dealing with member, of Bergman’s family in bygone times - it begins a few years after The Best Intentions leaves off- the new picture was directed by Daniel Batsman, his youngest son, Although it lacks the urgency and originality of the elder Bergman’s greatest achievements, such as The Silence and Potions, it has enough visual and emotional interest to make a worthy addition to his body of work,
Set in rural Sweden during the late 1920s, the story centers on a young, boy named Pa, clearly modeled on Ingmar Bergman himself. Pu's father is a country clergyman whose duties include traveling to the capital and ministering to the royal family, While this is an enviable position, it doesn’t assuage problems in the pastor’s marriage, Pu’s young enough to be fairly oblivious to such difficulties, but his awareness grows with the passage of time, So do the subtle tensions that mar Pu’s own relationship with his father, whose desire to show affection and compassion is hampered by a certain stiffness in his demeanor and chilliness in his emotions.
The film’s most resonant passages take place when Pu learns to see his father with new clarity while accompanying him on a cross-country trip to another parish. In a remarkable change of tone, this portion of the story is punctuated with .flash-forwards to a time 40 years in the future, showing the relationship between parent and child to be dramatically re versed: The father is now cared for by the son, and desires a forgiveness for past shortcomings that the younger man resolutely refuses to gram.
Brief and abrupt though they are, these scenes make a pungent contrast with the sunny landscapes and comic interludes in the early part of the movie.
Sunday’s Children is a film of many levels, and all are skillfully handled by Daniel Batsman in his directional debut. Gentle scenes of domestic contentment are sensitively interwoven with intimations of underlying malaise. While the more nostalgic sequences are photographed with an eye-dazzling beauty that occasionally threatens to become cloying, any such result is foreclosed by the jagged interruptions of the flash-forward sequences--an intrusive device that few filmmakers are agile enough to handle successfully, but that is put to impressive use by the Bergman team.
Henrik Linnros gives a smartly turned performance as young Pu, and Thommy Berggren - who starred in the popular Elvira Madison years ago - is steadily convincing as his father. Top honors go to the screenplay, though, which carries the crowded canvas of Fanny and Alexander and the emotional ambiguity of The Best Intentions into fresh and sometimes fascinating territory.
Over the years critical views of Bergman's work have ______.
A．without exception been positive
B．deplored his seriousness
C．often been antithetical
D．usually focused on his personality
How strange is the lot of us (1)_____! Each of us is here for a brief sojourn; for what purpose he knows not, though he sometimes thinks he senses it. But without deeper (2)_____ one knows from daily life that one exists for other people—first of all for those upon whose smiles and well-being our own happiness is wholly (3)_____, and then for the many unknown (4)_____ us, (5)_____ destinies we are bound by the ties of sympathy. A hundred times every day I remind myself (6)_____ my inner and outer life (7)_____ the labors of other men, living and dead, and that I must exert myself in order to give in the same measure (8)_____ I have received and am still receiving. I am strongly drawn to a frugal life and am often oppressively aware that I am engrossing an undue (9)_____ of the labor of my fellow-men. I regard class distinctions as unjustified and in the last resort, based on force. I also believe that a simple and unassuming life is good for everybody, physically and (10)_____.
I do not at all (11)_____ human freedom in the philosophical sense. Everybody acts not only under (12)_____ compulsion but also (13)_____ inner necessity. Schopenhauer's saying "A man can do what he wants; (14)_____ not want what he wants," has been a very real inspiration to me (15)_____ my youth; it has been a continual consolation (16)_____ life's hardships, my own and (17)_____, and an unfailing well-spring of tolerance. This realization mercifully mitigates the easily paralyzing sense of responsibility and prevents us from (18)_____ ourselves and other people (19)_____ seriously; it is (20)_____ a view of life which, in particular, gives humor its due.
A．mortals
B．morals
C．immortals
D．mortal
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