求一篇英语120字小短文~评价著名电影中的人物 可以评价以下电影中的任意一个人物 120字就好《小妇人》《飘》（《乱世佳人》）《理智与情感》《老人与海》《名利场》一定要120字 所以可

求一篇英语120字小短文~评价著名电影中的人物 可以评价以下电影中的任意一个人物 120字就好《小妇人》《飘》（《乱世佳人》）《理智与情感》《老人与海》《名利场》一定要120字 所以可
求一篇英语120字小短文~评价著名电影中的人物
可以评价以下电影中的任意一个人物
120字就好
《小妇人》
《飘》（《乱世佳人》）
《理智与情感》
《老人与海》
《名利场》
一定要120字 所以可以稍微长一点点吗 是对一个人物的评价 不是观后感哦~任意的人物都可以

求一篇英语120字小短文~评价著名电影中的人物 可以评价以下电影中的任意一个人物 120字就好《小妇人》《飘》（《乱世佳人》）《理智与情感》《老人与海》《名利场》一定要120字 所以可
《理智与情感》
Colonel Brandon is the affluent suitor and eventual husband of Marianne Dashwood. Although reserved and not passionate, he has a very good heart and helps out those in distress. His charitable behavior toward Eliza Williams and Edward Ferrars makes him the unnoticed knight in shining armor. Upon first meeting, and throughout most of the book, Marianne considers Brandon much too old (thirty-five) and sensible. He has clearly already had his heart broken, and the romantic Marianne believes that everyone is fated to only love once; she prefers the young, handsome, and spontaneous man.

THE OLD MAN AND THE SEA
Ernest Hemingway
The Old Man and the Sea may very well become one of the true classics of this generation. Certainly, the qualities of Ernest Hemingway's short novel ...

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THE OLD MAN AND THE SEA
Ernest Hemingway
The Old Man and the Sea may very well become one of the true classics of this generation. Certainly, the qualities of Ernest Hemingway's short novel are those which we associate with many great stories of the past: near perfection of form within the limitations of its subject matter, restraint of treatment, regard for the unities of time and place, and evocative simplicity of style. Also, like most great stories, it can be read on more than one level of meaning. On one it is an exciting but tragic adventure story. Sustained by the pride of his calling, the only pride he has left, a broken old fisherman ventures far out into the Gulf Stream and there hooks the biggest marlin ever seen in those waters. Then, alone and exhausted by his struggle to harpoon the giant fish, he is forced into a losing battle with marauding sharks; they leave him nothing but the skeleton of his catch. On another level the book is a fable of the unconquerable spirit of man, a creature capable of snatching spiritual victory from circumstances of disaster and material defeat. On still another it is a parable of religious significance, its theme supported by the writer's unobtrusive handling of Christian symbols and metaphors. Like Coleridge's Ancient Mariner, Hemingway's Cuban fisherman is a character allowing the imagination of his creator to operate simultaneously in two different worlds of meaning and value, the one real and dramatic, the other moral and devotionally symbolic.
For eighty four days old Santiago had not caught a single fish. At first a young boy, Manolin, had shared his bad fortune, but after the fortieth luckless day the boy's father told his son to go in another boat. From that time on Santiago worked alone. Each morning he rowed his skiff out into the Gulf Stream where the big fish were. Each evening he came in empty-handed.

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