00-61. The English Patient

The English Patient


The English Patient

Это не только название нашей школы, но и название романа и фильма на его основе. Желание назвать так нашу школу возникло тогда, когда мы уже создали сайт the-english-patient.com, задания первой страницы которого вам будут интересны. Суть сайта – дать понять, что в деле овладения английским языком важно самообразование. Самолечение – не самая лучшая идея, когда речь идет о пациентах клиник: без врачей нельзя узнать о себе много интересного и печального. Но, согласитесь, решения всегда мы принимаем сами! Ведь зачастую, сколько врачей, столько и мнений. Идея была в том, что нужно оптимально заниматься самообразованием, лишь изредка посещая врачей. На сайте, к сожалению, много отсутствующих видео (катастрофа с vimeo), но вы много узнаете интересного в любом случае.

Этот модуль – просто собрание фрагментов фильма для просмотра совместно с преподавателем для прояснения непонятных мест. Вся философия – приоритет личного над общественным долгом и моралью. Об этом уже упоминалось в одном из предыдущих модулей.

Прочитаем фрагмент обзора фильма:

This poetic, evocative film version of the famous novel by Michael Ondaatje circles down through layers of mystery until all of the puzzles in the story have been solved, and only the great wound of a doomed love remains. It is the kind of movie you can see twice - first for the questions, the second time for the answers. The film opens with a pre-war biplane flying above the desert, carrying two passengers in its open cockpits. The film will tell us who these passengers are, why they are in the plane, and what happens next. All of the rest of the story is prologue and epilogue to the reasons for this flight. It is told with the sweep and visual richness of a film by David Lean, with an attention to fragments of memory that evoke feelings even before we understand what they mean.

Раз фильм нужно смотреть дважды, нет никакого преступления в том, что мы его посмотрим сначала частями.

The “present” action takes place in Italy, during the last days of World War II. A horribly burned man, the “English patient” of the title, is part of a hospital convoy. When he grows too ill to be moved, a nurse named Hana (Juliette Binoche) offers to stay behind to care for him in the ruins of an old monastery. Here she sets up a makeshift hospital, and soon she is joined by two bomb-disposal experts and a mysterious visitor named Caravaggio (Willem Dafoe).
The patient's skin is so badly burned it looks like tortured leather. His face is a mask. He can remember nothing. Hana cares for him tenderly, perhaps because he reminds her of other men she has loved and lost during the war. (“I must be a curse. Anybody who loves me - who gets close to me - is killed.”) Caravaggio, who has an interest in the morphine Hana dispenses to her patient, is more cynical: “Ask your saint who he's killed. I don't think he's forgotten anything.” The nurse is attracted to one of the bomb disposal men, a handsome, cheerful Sikh officer named Kip (Naveen Andrews). But as she watches him risk his life to disarm land mines, she fears her curse will doom him; if they fall in love, he will die. Meanwhile, the patient's memories start to return in flashes of detail, spurred by the book that was found with his charred body - an old leather-bound volume of the histories of Herodotus, with drawings, notes and poems pasted or folded inside.
I will not disclose the crucial details of what he remembers. I will simply supply the outlines that become clear early on. He is not English, for one thing. He is a Hungarian count, named Laszlo de Almasy (Ralph Fiennes), who in Egypt before the war was attached to the Royal Geographic Society as a pilot who flew over the desert, making maps that could be used for their research - which was the cover story - but also used by English troops in case of war.
In the frantic social life of Cairo, where everyone is aware that war is coming, Almasy meets a newly married woman at a dance. She is Katharine Clifton (Kristin Scott Thomas). Her husband Geoffrey (Colin Firth) is a disappointment to her. Almasy follows her home one night, and she confronts him and says, “Why follow me? Escort me, by all means, but to follow me . . .” It is clear to both of them that they are in love. Eventually they find themselves in the desert, part of an expedition, and when Geoffrey is called away (for reasons which later are revealed as good ones), they draw closer together. In a stunning sequence, their camp is all but buried in a sandstorm, and their relief at surviving leads to a great romantic sequence.
These are the two people - the count and the British woman - who were in the plane in the first shot. But under what conditions that flight was taken remains a mystery until the closing scenes of the movie, as do a lot of other things, including actions by the count that Caravaggio, the strange visitor, may suspect. Actions that may have led to Caravaggio having his thumbs cut off by the Nazis. 

В этом видео затронуты некоторые лингвистические аспекты, но ведь мы не нуждаемся в обосновании выбора этого фильма для обучения, не так ли?

Для того, чтобы более осмысленно знакомиться с остальными сюжетами, прочтите несколько отзывов о фильме на сайте rottentomatoes.com

Над этим отзывом придется потрудиться

dud - в данном случае «пустышка»; slog – «тягомотина»;  trite  - «банальщина»

self-effacing = modest;   идиома hot air- not sincere and will have no practical results

В офисе школы «Английский пациент» среди прочих на стене висит картина:

Те, кто отказывается видеть в «Английском пациенте» философский смысл, могут запомнить хотя бы одну цитату для того, чтобы не считать время зря потраченным:

Специализируемся на развитии навыков говорения и понимания реальной речи на слух. Используем только оригинальные материалы.