[返老还童(观后感)]昨天晚上看了返老还童，布拉德皮特演的，以前光知道有这部电影一直没看过，返老还童(观后感)。我很少能把一部电影一点不落，完完整整的看完，这部是个例外，不知不觉就看完了还舍弃了我看球赛的时间。看完之后，心里面很满足，很愉悦而又很沮丧。觉得有点像泰坦尼克号，都是回忆故事的，但个人感觉比前者更伤感更惨，是一部经典耐人寻味的片子，观后感《返老还童(观后感)》。。特别是结局，一位老太太抱着一个婴儿，谁会想到他们是情侣。。剧情我就不说了，希望大家能去看一下，细节自己品味！！　　影片原名《本杰明
巴顿》，男主人公的名字。2008年出品，获得2009年奥斯卡最佳影片的提名，得了几个奥斯卡特效奖。改编自著名作家菲茨杰拉德的短篇小说《本杰明巴顿奇事》。

一般可以用自己的感受做主标题，下一行是读《xxx》有感，为副标题。也可直接写读《xxx》有感
要选择自己感受最深的东西去写，这是写好读后感的关键。要密切联系实际，这是读后感的重要内容。要处理好“读”与“感”的关系，做到议论，叙述，抒情三结合。
写读后感应以所读作品的内容简介开头，然后，再写体会。
原文内容往往用3～4句话概括为宜。结尾也大多再回到所读的作品上来。要把重点放在“感”字上，切记要联系自己的生活实际，与自己的生活相结合，否则作文会显得空虚。
要符合情理、写出真情实感。注意不要写成流水账

有是有，就是很多，你自己摘一部分有用的吧！
The Curious Case Of Benjamin Button
Fable about a man who is born old and grows younger over time starring Brad Pitt, Cate Blanchett and directed by David Fincher
We begin at the end. Daisy (Cate Blanchett) is on her deathbed, attended to by her daughter Caroline, played by Julia Ormond. In Daisy's bag, there is a diary that once belonged to Benjamin Button. She asks her daughter to read it, and Brad Pitt's narration takes us back to the night of Button's birth, the end of the First World War, when he emerged into the world a wizened old baby.
They say that short stories make the best films. Rudyard Kipling's 'The Man Who Would Be King' barely covers three pages. The Curious Case Of Benjamin Button was a short story by F Scott Fitzgerald, a great American writer whose tortured, beautiful, boozy novels have never made an easy transition to Hollywood cinema: not one of the three adaptations of 'The Great Gatsby' are fondly remembered. From Fitzgerald's conceit of a man born old and growing younger with every passing year, director David Fincher, screenwriters Eric Roth and Robin Swicord, and the cast grow an epic film about life and death, regret and perfection.
Screenwriter Roth has been here before. His Forrest Gump was also a journey through the American century in the company of an extraordinary man with a simple heart. And like Gump, Benjamin Button has a host of Oscar nominations. Is it Gump 2? No. Death saves it from that fate.
After his birth, the wizened baby Button is abandoned by his father on the doorstep of an old people's home run by Queenie (Taraji P Henson). Queenie's difficulty in conceiving means she takes in the malformed infant on her doorstep without a second thought. The old people's home is the last stop on the way to the grave, a suitable setting for Benjamin's wrinkled childhood. People will always pass him by as he reverses along time's one-way street. Among the nearly dead, youth appears in the form of Daisy, the granddaughter of a resident who strikes up a friendship with the child-like old man.
Daisy grows up and moves to New York to be a ballet dancer, falling in with a bohemian crowd. Benjamin becomes a sailor on a tug boat. For a moment, their contrasting lives - her's artistic and beautifully pretentious, his one of honest toil and old manners - threatens a reprise of Forrest Gump's and Jenny's relationship which so polarised audiences. Gump's love failed to leap across the divide of America's culture wars, in which Jenny's sweet self came a cropper in the decadence of the 1960s - the era that conservative America regards as the point of decline, as opposed to liberal America's idolisation of the era as one in which suffocating hypocrisy and moral evils were swept away. For Benjamin and Daisy, the 1960s is the sweet spot at which her ageing and his "youthing" meet in the middle, the only time they can come together as equals.
Throughout the tale, we return to Daisy on her death bed in New Orleans. Outside the hospital window, Hurricane Katrina gathers force. In this narrative frame, Daisy's features are bald and sunken, one gnarled hand scratches at her chest. Cancer is adding the final touches to its grim portrait. Her thoughts are morphine-loose and drifting back over the life she shared with Benjamin.
Even though the film has been shot in a palette that goes from Oscar caramel to airbrushed dusk, the lush classic
Hollywood aesthetic of the tale is offset by this grim frame. Benjamin may be a sweet outsider but he is no 'GumpJesus' - neither saviour nor redeemer, he is on the outskirts of history. Where Gump was digitally dropped into famous newsreels, Button's life is a footnote to big events.
We are spared the familiar pinch points of the American century -no hippies, no civil rights, and when Pearl Harbor is bombed, Benjamin is drinking in a bar. Instead Hollywood icons summon periods, most ravishingly when Benjamin goes through his Steve McQueen phase in the 1960s. As he gets progressively younger, the digital make-up recapitulates Brad Pitt's own iconography: Benjamin grows to look like J.D. in Thelma &
Louise.
Benjamin's journey against the tide is a picaresque one, taking in marvellous diversions. In a hotel in the Russian
port of Murmansk, he conducts dead of night liaisons with a diplomat's wife, Elizabeth Abbot. Tilda Swinton plays her with the high cheekbones, sophisticated hauteur and barely-suppressed longing that recalls both Billy Wilder's worldly heroines and Celia Johnson's duty-bound Englishness, a brute matter-of-factness concealing abnegated desires that only emerge in the witching hour.
One fascinating interlude among many, the film's looping narrative arcs gives you the sense you could almost live in it - the epic David Lean-inspired framing encourages further immersion. Fincher and his team's technical achievement in integrating the digital make-up within a lush but grounded reality is considerable. The actors do interesting work with their characters at different points in their respective lives. Around Brad Pitt's still, emotionally simple Benjamin, Cate Blanchett, Tilda Swinton and Taraji P Henson bring layered,inspiring,intriguing performances.
Verdict
An unusual conceit brilliantly executed. A moving work of golden fantasy poised just above the dark waters of our own mortality.