美丽心灵英文观后感60字

[跪求！看运动会的观后感 600字以上中学生]在这秋高气爽的九月里，我们迎着秋日的阳光，伴随着收获的季节，迎来了欢快精彩的校运动会。一大早，全校师生就来到了运动场，他们有的安排场地，有的整理服装，有的安放运动器材，忙得不...+阅读

Beautiful Mind A Beautiful Mind is a touching, emotionally charged film detailing the life of a brilliant academic who suffers from schizophrenia. This affliction slowly takes over his mind and we watch as his life crumbles apart around him. He abandons his students, alienates his colleagues and replaces his research with a fruitleand all-consuming obsession. Eventually he is taken into hospital where he is forced, with the help of electric-shock therapy and regular medication, to accept his condition and attempt to repair the shattered fragments of his life. He succeeds. Of course he succeeds, this is Hollywood and Hollywood likes a happy ending. In this case the happy ending is that, as an old man and after years of struggle, the poor academic is awarded the Nobel Prize. One interesting point though; it's a true story and our hero is none other than John Forbes Nash Jr. As a young man, John Nash was a mathematical genius. In 1947 he went to Princeton on a Carnegie Scholarship, and after three years had produced a 27-page dissertation for his doctorate in which he greatly expanded the field of Game Theory, transporting it from a position of relative obscurity into one of almost universal relevance. In the 1920s the father of Game Theory, Hungarian mathematician John von Neumann, had shown that mathematical models could be used to explain the behaviour of players in si-mp-le games. His work was limited in scope however, and although interesting, it appeared to be of little practical use. Nash's dissertation expanded on von Neumann's work, showing how Game Theory could explain complex as well as si-mp-le competitive behaviour. It wasn't a comprehensive solution to all game situations, but it did lay the foundations for the huge body of work on Game Theory which has been produced since. Unfortunately, very little of this comes acroin A Beautiful Mind because the director (Ron Howard) seems more interested in ma-ki-ng a film about a schizophrenic than a mathematician suffering from schizophrenia. At the start of the film we are shown a Hollywood template of a typically obsessive young academic, introverted, socially inept, dismissive of his colleagues' work. If the notes we see Nash scribbling on his windows were chemical formulae or rhyming couplets rather than mathematical equations, the character would have seemed equally plausible. This is not to say that Russell Crowe, who plays Nash, does a bad job. Indeed, he succeeds in giving his character a convincing plausibility rarely seen in mainstream cinema these days, and he was certainly a deserving Oscar nominee. It's just that we never see him doing any maths apart from the occasional scribbling on windows. And when his great breakthrough finally comes, Nash is not poring over his books in the library or gazing fixedly at his glaequivalent of a blackboard, he's in a bar, eyeing up a group of attractive young women. How visually convenient. But to be fair, this is a dramatisation based on Sylvia Nasar's best-selling book, not a documentary. Its aim is to entertain, not to enlighten, and it does this perfectly well. Russell Crowe produces probably his best performance to date and is equally convincing as both the awkward young genius and the tortured convalescent, struggling to rebuild his marriage and career. Jennifer Connolly (who won the Oscar for Best Supporting Actress) is excellent as Alicia, Nash's long-suffering wife, and there are several strong performances from the supporting cast, most notably Ed Harris as a mysterious character from the military and Paul Bettany as Nash's Princeton roommate. But Hollywood requires more from its films than a few good performances; it requires drama,