梅兰芳 电影,电影梅兰芳,讲的是什么?

　　片名：梅兰芳

　　英文名：Forever Enthralled

　　导 演：陈凯

　　总制片人：韩三平 杜家毅

　　总监制：韩晓黎 利雅博 姜涛 陈红

　　总策划：史东明 吴迎

　　制片人：赵海城

　　艺术顾问：梅葆玖

　　编剧：严歌苓 陈国富 张家鲁

　　摄影指导：赵晓时

　　总美术：柳青

　　作曲：赵季平

　　出品：

　　中影集团北影制片厂

　　中环国际娱乐

　　英皇电影

　　公映日期：

　　12月5日

　　[编辑本段]主演：

　　黎明 饰 中年梅兰芳

　　章子怡 饰 孟小冬

　　孙红雷 饰 邱如白

　　陈红 饰 福芝芳

　　王学圻 饰 十三燕

　　英 达 饰 冯子光

　　余少群 饰 青年梅兰芳

　　安藤政信 饰 中田隆一

　　潘粤明 饰 朱慧芳

　　吴刚 饰 费二爷

　　[编辑本段]剧情简介：

　　梅兰芳1894年出生在北京的一个京剧世家。在清末的中国，戏子的地位等同于娼妓。尽管梅兰芳的祖父梅巧玲受到宫廷的赏识，却因演的是女人，必须半裸地在台上表演。在观众的满足之后，梅巧玲得到的只是鄙视。梅兰芳是在这样的家庭长大的，而且同他祖父一样，也演的是女人。梅兰芳的伯父告诉他，宫廷里有一种刑罚，就是让犯了过错的戏子戴上一面纸做的枷锁，举起的双手捧着一碗水，纸枷锁撕破了，被罚者就会被乱棍打死。一纸枷锁成了艺人们命运的象征，他们面对着随时被形形色色的乱棍打死的可能，梅兰芳当然也是他们中间的一个。

　　死别

　　梅兰芳再也没有想到他人生的第一个竞争对手竟然就是和梅家有三代情谊的老艺人十三燕。十三燕名满北京的时候，梅兰芳尚未出生，他是宫廷的戏子，又是百姓的英雄，但是时代变了。梅兰芳的出现，动摇了十三燕的地位，由于革命的风潮，妇女的解放，扮演女人的男人梅兰芳成了年轻人争相追逐的对象。在他夺目的光芒中，十三燕黯然失色。于是决站不可避免，邱如白对梅兰芳说：你的时代到了。

　　梅兰芳第一场就输了。他还有两天的时间可以挽回败局。不顾众人的反对，梅兰芳竟然冒着极大的风险改演时装新戏，胜负已经放下，输赢无关紧要，他以极大的心胸证明了自己是时代的宠儿。在万千青年学生的追捧下，梅兰芳的新戏大获成功。第三天的竞争变得毫无意义，十三燕输定了。当梅兰芳走进十三燕的家门，想劝说他放弃第三天的演出时，却遭到了十三燕的拒绝。梅兰芳隐隐感到，十三燕所争的是一样叫作尊严的东西。但他如果继续演唱，十三燕的失败将是惨烈而残酷的。他必须作出选择。

　　十三燕说过一句话：“输不丢人，怕才丢人。”梅兰芳遵从了十三燕的决定，他在台上从容地缓歌曼舞，唱道：花谢花飞飞满天，红消香断有谁怜。他是唱给他的爷爷十三燕听的，仿佛为他深深热爱的旧时代唱了一首挽歌。

　　十三燕失败了，死了，但败得悲壮。

　　死前给梅兰芳留下一句话，“希望你好好地将伶人的地位提拔一下。”

　　生离

　　梅兰芳渐入中年，他有了妻子福芝芳和可爱的孩子们，他的事业如日中天，名字传遍亚洲。

　　在京剧舞台上专门扮演男人的女艺人孟小冬第一次见到了梅兰芳就识破了他眼中的忧郁。她开阔爽朗的性格感染了梅兰芳，在他们的交流中，梅兰芳会被自己太过知心的话语惊住，也会随着孟小冬每一次的欢笑而欢笑。他们一同在台上演出，在戏中将男的变成女的，女的变成男的，他们开始有了一种把自己同对方揉在一起共同分享的愿望。

　　这时，走到孟小冬面前的不仅有梅兰芳的妻子福芝芳，更有邱如白。福芝芳对孟小冬说，他不是你的，也不是我的，他是座儿(观众)的。邱如白对孟小冬说，谁毁了梅兰芳的孤单，谁就毁了梅兰芳。福芝芳的话感动了孟小冬，而邱如白的话摧毁了孟小冬。但孟小冬仍然说，不，我不放弃梅兰芳。

　　但她其实已决定放弃，为了梅兰芳。

　　诀别的时候到了，却有人冒充孟小冬的情人，误杀了宾客，刺客本人也被闻讯而来的军警击毙。

　　孟小冬走到门口对梅兰芳说，畹华，别怕，我走了。

　　梅兰芳就是在这样悲怆的心境下走上纽约百老汇的舞台的。他冒着失败的巨大风险，在1930年1月经济大萧条的风雪中，以一个东方女性的身份美丽而忧愁地起舞，用对西方人而言恍如天音的歌喉，轻啼缓唱，她的妩媚和刚勇，悲伤和快乐，集合地成了一个美学。他的演出获得了巨大的成功。

　　在纽约的街头，梅兰芳慢慢走着。

　　孟小冬在留给他的最后一封信中说，如果你是在纽约演出前看到这封信的，我还是那句话：畹华，别怕。

　　聚散

　　梅兰芳恰恰是在纽约首演的当晚知道了事情的真象的。是邱如白为了不让孟小冬走近梅兰芳而雇用了刺客，逼迫孟小冬离开梅兰芳。

　　1937年，日本军人诱使他劝说梅兰芳登台演出时说，你不能没有梅兰芳。

　　梅兰芳要去上海了，因为日本对中国的侵略，他决定不再登台演出，而邱如白却说，难道德国占领了英国，英国就永远不演莎士比亚了吗？

　　在梅兰芳多次拒绝日本军队对他发出的演出邀请时，却吃惊地听到了自己即将复出的消息，而面对社会公布这条消息的，正是匿名的邱如白。他希望梅兰芳永远留在舞台上。

　　一位日本军人说：“无论战争谁胜谁负,梅兰芳都应该不朽。”后来，这位日本军人自杀了。

　　当梅兰芳注射了伤寒针，蓄起了胡须走上日本人为他预备的记者会讲台时，他只轻轻说了一句：我的爷爷十三燕，让我给唱戏的争一点地位。然后就晕过去了。

　　梅兰芳的朋友邱如白站在梅兰芳病床前。他几十年同梅兰芳兄弟般地相处，又甚至几乎成了梅兰芳的敌人。邱如白突然发现，为了了解梅兰芳，竟用了一生的时间。他对梅兰芳说：现在我明白了，你想做一个凡人，也许你一直就是个凡人……

　　抗战终于迎来了胜利，梅兰芳又回到了舞台上，他最舍不得离开的地方。

　　梅兰芳戴着纸枷锁活了一辈子，但他却坦然地接受了它。他用面对一切的勇气得到了人们的爱。他已经征服了与生俱来的耻辱和恐惧。

　　当自己已经不是障碍时，一切都不再是障碍。

　　畹华，别怕。

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下面是更多关于梅兰芳 电影的问答

电影梅兰芳简介

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电影梅兰芳剧情介绍

梅兰芳（1894～1961），大形成自己的艺术风世称“梅派”。代表戏京《贵妃醉酒》、《霸王别姬》等；昆曲有《思凡》、《游园惊梦》等。所著论文编为《梅兰芳文集》，演出剧目编为《梅兰芳演出剧本选集》。梅派艺术传人有李世芳、张君秋、言慧珠、杜近芳、梅葆玖等。另有同名电影《梅兰芳》。

电影梅兰芳的英文简介。在线等。

Forever Enthralled

Mei Lanfang was born in 1894 in Beijing, a family of Peking Opera. At end of the Qing Dynasty of China, show the status of sub-equivalent to a prostitute. Mei Lanfang's grandfather even though玲appreciated by the court, because his is a woman, must be half-naked in the stage performances. Satisfied at the audience after梅巧玲received only scorn. Mei is growing up in such a home, and with his grandfather, also play a woman. Mei Lanfang's uncle told him that the court there is a penalty, is to commit the fault of actors put on one side of paper to do the yoke, lift the two hands holding a bowl of water, paper torn yoke, and who will be fined chaos club was killed. One paper shackles became a symbol of the fate of art people, they were faced with all sorts of chaos at any time and killed the possibility of stick, of course, is their middle Mei one.

Do not Die

Mei never thought his life was the first competitor that has three generations of family and friendship Mei-old artist Yan thirteen. Yan were thirteen full time in Beijing, Mei Lanfang has not yet been born, he was sub-court drama, but also ordinary people are heroes, but time has changed. The emergence of Mei Lanfang, has shaken the status of Yan thirteen, because of the wave of revolution, women's liberation, women play a Man Mei became the object of Youth chasing each other. Brightly at him, the thirteen-yan eclipsed. Therefore must stop the inevitable, such as white on the Mei Lanfang Qiu Say: Your time is up.

Mei first lose. He can have two days to restore the lost game. Regardless of public opposition, Mei Lanfang was at great risk to his new play fashion, the outcome has been put aside, winning or losing does not matter, he has a great mind to prove that they are the darling of the time. Thousands of young students at a few stocks, the Mei Lanfang's new play great success. The third day of competition become meaningless thirteen Yan lose. When Mei-yan of thirteen entered the house, want to persuade him to give up the third day of the performances, it was the thirteen-yan refuse. Mei seems to feel that the thirteen-yan indisputable is the same as what is called dignity. But if he continues singing, the failure of thirteen Yan will be tragic and cruel. He must make a choice.

Thirteen-yan said a word: "losers do not lose face, lose face before fear." Mei Yan thirteen to comply with the decision, he calmly at ease on stage曼舞song, sang: Flower Flower Feifei hsieh sky, red extinction Shannon pity anyone off. He is the Grandfather of thirteen唱给Yan him to hear, as if for his deep love for old time sang a dirge.

Yan thirteen fail, die, but a tragic defeat.

Mei left before his death give one word, "I hope you will be properly promoted伶人about the status."

Health from the

Mei gradually into middle age, he has his wife, Fu Chi-fang and lovely children, his career zenith, the name spread all over Asia.

Opera on stage at the specialized female artist to play the Man冬Mei first saw him on to see through the eyes of melancholy. Open character of her hearty infected with Mei Lanfang, in their exchanges, Mei will be their own good words too scared to live, also with every孟小冬laughter and laughter. Them to the stage to perform at the show will become a woman, man, woman becomes man, and they have a start put their own together with the other rubbing the desire to share.

At this time,孟小冬go before there is not only the wife of Mei Fu Chi-fang, such as Bai Qiu more. Fu Chi-fang of孟小冬said that he was not you nor me, and his son are Block (the audience) is. Qiu said孟小冬such as white-on, who ruined the lonely Mei Lanfang, Mei Lanfang will destroy. Fu Chi-fang, then moved孟小冬, and Qiu such as white, then destroyed the孟小冬. But still孟小冬Say, No, I do not give up the Mei Lanfang.

But she has already decided to give up, in order to Mei Lanfang.

Farewell to the time, but someone posing as the lover孟小冬, manslaughter of the guests, an assassin, I have been hearing from the military and police killed.

孟小冬to the door of Mei Lanfang, said Wan-hua, Do not worry, I left.

Mei Lanfang was in this state of mind under Pathetique onto Broadway stage in New York. He braved the huge risk of failure, in January 1930 at the Great Depression in the snow to a female identity, Oriental beauty and sad to dance with the West in terms of days like the sound of the voice, light relief cry to sing, her charming and刚勇, sadness and happiness, set to become an aesthetic. His performance was a huge success.

In New York streets, Mei walked slowly.

孟小冬left at his last letter said that if you are in New York before the performance to see the letter, I still was: Wan-hua, Do not be afraid.

Separation

Mei precisely premiere in New York the night to know the truth of the matter. Qiu are white in order to prevent such as Mei Lanfang孟小冬approached and hired assassin, forced to leave the Mei Lanfang孟小冬.

In 1937, Japanese soldiers to induce him to persuade the stage Mei said that you can not Mei.

Mei to go to Shanghai, because the Japanese aggression against China, he decided not to stage performances, such as white and Qiu said, should the German occupation of Britain, the United Kingdom on his Shakespeare Forever not it?

Mei repeatedly rejected at the Japanese army sent him to perform on the invitation, but was surprised to hear his message of imminent comeback, and the face of the public the message that is anonymous such as Bai Qiu. He expressed the hope that Mei Lanfang Forever stay on the stage.

A Japanese soldier, said: "No matter who wins the war, Mei should be immortal." Later, the Japanese soldiers committed suicide.

When Mei Lanfang needle injected with typhoid fever, has played a beard as he prepared to embark on a Japanese press conference rostrum, he only said one sentence gently: My Grandfather thirteen Yan, let me give a little for the status of the Singing Opera. Then passed on the halo.

Friends such as Mei Lanfang Qiu Mei white bed stand. Mei Lanfang with him for decades to get along like brothers, and even seems to have become the enemy of Mei Lanfang. Chiu suddenly discovered such as white, in order to know Mei Lanfang, has spent a life time. Mei he said: now I see, you want to do a mortal, perhaps you have is a mortal ... ...

Finally win the war ushered in, Mei has returned to the stage, he was most reluctant to leave the place.

Mei Lanfang, wearing shackles of living a lifetime of paper, but he frankly accepted it. He used all the courage to face by the people's love. He has conquered the birthright of shame and fear.

When he had not the obstacles, everything is no longer a barrier.

Wan-hua, Do not be afraid.

<<梅兰芳>>电影的简介20字左右（急)

梅兰芳（1894～1961），京剧大师。形成自己的艺术风格，世称“梅派”。

电影梅兰芳,讲的是什么?

　　每个人都是梅兰芳

　　窗外凛冽，窗内孤灯孤影，电脑旁，孤独的透独的的眼神，伴随着敲击键盘的孤独的声音，诉说着别样的孤独！

　　我在回忆《梅兰芳》，《梅兰芳》给我的感觉只有两个字：孤独！与其说电影从“死别”、“生离”以及“聚散”三个部分展现了梅兰芳的传奇一生，不如说电影从“死别”、“生离”以及“聚散”三个部分展现了孤独的不同内容。

　　“死别”部分我看的哭了，为十三燕的坚强哭了，为十三燕的固执坚守哭了，为十三燕的悲情凄惨哭了，为十三燕的孤独坚韧哭了！当十三燕在残片碎砾，乌烟瘴气的舞台上，面对着空无一人的戏场依然字正腔圆，身正影直地坚持唱完《定军山》时，他把他的那份孤独：生命的孤独，艺术的孤独，身份的孤独，高傲的孤独，失败的孤独，执着的孤独淋漓尽致地表现了出来了！尊严而华丽的转身注定了十三燕的死，孤独的死去也许是他最好的归宿，因为那个特定背景下的沉重是任何人都承担不起的，更何况是一个把唱戏看的比生命更重要的孤傲老人呢。

　　“生离”部分梅兰芳和孟小冬的爱情折射出的孤独更显细腻。孤独之于爱，到底是轻落在那一淼晶莹花瓣上的露珠那般不弃不离，还是划破天际的流星，永远只能是奢望？梅兰芳和孟小冬的爱情虽然在责任，事业，无奈的压力下夭折了，但留存在梅兰芳心里的那份美丽也同样在我们的心底开放出了冬日里的温暖之花。孤独，虽然脆弱，但未尝不是一种美丽。守得住的孤独是纯粹，守不住的孤独也无罪，因为我们每个人都有这种孤独，不管是灵魂里的，骨子里的，还是停留在皮肤表层里，像烟花一样稍瞬即逝的。

　　“聚散”部分的孤独略显沉重。一个民族一个国家的苦难让一个唱戏的“女子”来承受，这本身就是份孤独。影片中几个镜头令我心酸，一个是陈红扮演的福芝芳在铁门外焦急地等待梅兰芳从日军那里出来的那份浓浓的牵挂，一个是梅兰芳在上海演出被国人误解，家中玻璃被石块打碎的那种无奈的隐忍，一个是抗战胜利后梅兰芳对跟在他后面的人说“谢谢大家，别再跟着了，我要开始扮戏了”后的那种无言的沉重。

　　有人说《梅兰芳》是陈凯歌的回归。他找寻回了属于自己的那份孤独，没有再一次迷失在人云亦云的商业大潮中，所以他成功了。

　　有人说《梅兰芳》是黎明的回归。“我告诉你，我不演梅兰芳，我就是梅兰芳！”黎明，没落的明星，也在《梅兰芳》中找寻到了自己的影子。孤独了十多年，承受了十多年，坚守了十多年，终于在孤独中又一次找回了自己！

　　也有人说《梅兰芳》是孙红雷的回归。“六哥我是干净的。”沉浸在《梅兰芳》中的孙红雷久久不能解脱，在剧中辞掉公务员工作，试图洗脱流言的那句台词本来就在世风低俗的今日就颇显扎耳，如今又让红雷兄把“干净说”带到了当今娱乐风暴的漩涡中，能不孤独吗？孙红雷的男人性格又回来了！

　　其实，何止他们，每个人都是梅兰芳！每个人都有属于自己的一份孤独！

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