求帮忙翻译一下这篇影评吧,最好能一段英文下面一段中文 万分感谢
To call “Aftershock” a melodrama doesn’t really do it justice. Shortly after Feng Xiaogang’s film begins, a woman whose husband has just died in the devastating 1976 Tangshan earthquake looks up and screams: “God! You bastard!” And things go downhill from there. Before you know it, she has a Sophie’s choice to make involving her two trapped children and a concrete slab.
如果将《唐山大地震》称作剧情片，那么多少有点不公。在这部冯氏电影开场后不久，发生于1976年唐山的毁灭性地震便夺去了一个丈夫的生命，而她的女人只能仰望天空凄厉地嚎叫“老天爷！王八蛋！”自此她便陷入了更大的泥沼：很快她便面临着苏菲般的抉择，不得不从两个被一块混凝土板困住的孩子中选择一个。
These scenes, including a highly effective rendering of the earthquake, which killed an estimated 240,000 people, are dispatched quickly. But the pain is just beginning. Still to come are an adoption, an unexpected pregnancy, terminal illness, two amputations, three emotional reunions, four abandonments and more than 30 years of exquisite suffering, guilt and resentment, until a redemptive finale brought about by — it’s almost too good to be true — the 2008 Sichuan earthquake.
以上这些场景和一个效果震撼的地震过程（这场地震据估计造成24万人死亡）很快便结束了。然而，这仅仅是苦痛和创伤的开始。之后还会发生诸多的事件：一次收养，一次意外怀孕，疾病晚期，两次截肢，三次感人的重逢，四次遗弃，超过三十年的细入发梢的苦痛，愧疚与怨恨，直到一个救赎式的终曲——而这简直是再恰当不过的——2008年的四川大地震。
The surprise is that while you’re aware that “Aftershock” is extracting tears with a sledgehammer, it doesn’t necessarily feel like abuse; it’s easy to let yourself go along with it. A lot of Chinese moviegoers did: “Aftershock” (the original title translates as “The Tangshan Earthquake”) is the highest-grossing domestic film in China’s history, its $100 million take since its release in July ranking it ahead of “The Founding of a Republic,” though still behind “Avatar.”
尽管所有人都会知道《唐山大地震》显然是一部催泪弹，但令人意外的是这部影片并不那么滥情；你可以很轻松地放任自己的情绪跟着片中的人物飘摇。事实上很多中国电影观众也的确这样做了：于是《唐山大地震》（英文译名原为The Tangshan Earthquake，后改为Aftershock）成为了中国历史上最卖座的本土电影，自七月份上映以来其累积票房收入达1亿美元，稳稳领先于《建国大业》，不过仍然落后于《阿凡达》。
Mr. Feng, director of the romantic caper “A World Without Thieves” and the romantic comedy “If You Are the One” (No. 3 in that box office ranking), has been called the Spielberg of China. In “Aftershock” the comparison makes sense in terms beyond commercial success. He somehow manages to mitigate the worst excesses of Su Xiaowei’s script. The film may be a blunt instrument , but it’s rarely maudlin — the exception being the performance of Mr. Feng’s wife, Fan Xu, as the long-suffering mother -and is, on occasion, quite moving. (Western viewers will still find some of the notions about family guilt to be over the top , but then they’re not accustomed to presumptive filial piety and a one-child policy.)
冯小刚曾执导过黑色喜剧《天下无贼》以及爱情喜剧《非诚勿扰》（官方票房排名第三位），被称为中国的斯皮尔伯格。而《唐山大地震》这样一部沉重的影片除了商业成功外，其与冯小刚以往作品的风格对比也十分强烈。冯小刚多少成功把握住了苏小卫过于冗长的剧本。这部电影或许有些过于直白，但绝不仅仅只有泪点——除了剧中那位饱受各种折磨的母亲（由冯小刚的妻子徐帆扮演），有时也颇为令人感动。（西方观影人仍然会感到有些关于家庭的罪恶感被过分夸大了，但这很多时候也是基于文化障碍——他们并不了解传统东方文化中隐含的孝道以及独生子女政策。）
To call “Aftershock” a melodrama doesn’t really do it justice. Shortly after Feng Xiaogang’s film begins, a woman whose husband has just died in the devastating 1976 Tangshan earthquake looks up and screams: “God! You bastard!” And things go downhill from there. Before you know it, she has a Sophie’s choice to make involving her two trapped children and a concrete slab.
称“震后”为情节剧真的不够公平。在冯小刚的电影开场不久，一位女士（她的丈夫刚死于1976年唐山地震灾难）抬眼看去，然后尖叫：“天哪！你这个混蛋！” 从那以后每况愈下。在你了解这些之前，她的两个孩子被困在水泥板下，她面临苏菲的选择。
These scenes, including a highly effective rendering of the earthquake, which killed an estimated 240,000 people, are dispatched quickly. But the pain is just beginning. Still to come are an adoption, an unexpected pregnancy, terminal illness, two amputations, three emotional reunions, four abandonments and more than 30 years of exquisite suffering, guilt and resentment, until a redemptive finale brought about by — it’s almost too good to be true — the 2008 Sichuan earthquake.
这一幕幕，包括对这场吞噬了240000人的地震高度逼真的描绘，接踵而至。但伤痛刚刚开始。接下来的是收养孤儿、意外怀孕、不治之症、两次截肢、三次感人团聚、四次抛弃和超过30年的痛苦煎熬、负罪感和愤怒，直到2008年汶川地震带来的过于真实的具有救赎意义的结局。
The surprise is that while you’re aware that “Aftershock” is extracting tears with a sledgehammer, it doesn’t necessarily feel like abuse; it’s easy to let yourself go along with it. A lot of Chinese moviegoers did: “Aftershock” (the original title translates as “The Tangshan Earthquake”) is the highest-grossing domestic film in China’s history, its $100 million take since its release in July ranking it ahead of “The Founding of a Republic,” though still behind “Avatar.”
令人惊讶之处在于，即使你明白电影“震后”竭尽全力催泪，但绝没有让人感觉过分；它轻易地把你带入电影。很多中国影迷就范了：尽管仍然落后于“阿凡达”，“震后”（原名译为“唐山大地震”）达史上最高票房，七月发行以来的1亿元收入超过了“建国大业”。
Mr. Feng, director of the romantic caper “A World Without Thieves” and the romantic comedy “If You Are the One” (No. 3 in that box office ranking), has been called the Spielberg of China. In “Aftershock” the comparison makes sense in terms beyond commercial success. He somehow manages to mitigate the worst excesses of Su Xiaowei’s script. The film may be a blunt instrument , but it’s rarely maudlin — the exception being the performance of Mr. Feng’s wife, Fan Xu, as the long-suffering mother -and is, on occasion, quite moving. (Western viewers will still find some of the notions about family guilt to be over the top , but then they’re not accustomed to presumptive filial piety and a one-child policy.)
冯先生，具浪漫色彩的公路劫匪电影“天下无贼”和浪漫喜剧“非诚勿扰”（票房排行第三）的导演，被称为中国的斯皮尔伯格。“震后”中，这种比较在商业成功之外有意义。他以某种方式，设法减轻脱离苏小卫剧本所能导致的最糟糕情况。这部电影也许是粗糙的乐器，但确实奏出让人悲伤的音乐——幸存者饱受煎熬的母亲由冯先生的妻子徐帆出演——她的演出，有时候相当感人（西方影评人仍将感到某些家庭内疚的观念被夸大了，可是在那之后，他们就会不习惯于文化中预先就有的孝心和独生子女政策。）
我翻译的，祝你好运！
叫“余震”情节并不真正做到司法公正。不久后，冯小刚的电影开始，一个女人的丈夫刚刚去世的1976唐山地震看起来和尖叫：“上帝！你这杂种！“事情到了这个地步。你知道它之前，她有一个索菲的选择使涉及她被困的孩子和混凝土板。这些场景，包括一个高度有效的渲染的地震，造成约240000人死亡，派遣快。但痛苦才刚刚开始。还来被领养，意外怀孕，终端疾病，截肢，三情感团聚，四大和30年以上的精美的痛苦，内疚和怨恨，直到一个救赎的结局带来的几乎是好得是真实的- 2008四川地震。令人惊讶的是，当你意识到“余震”是提取眼泪与大锤，它也不觉得滥用；很容易让自己随它去。很多中国观众：“余震”（原题的意思为“唐山地震”）是国内票房收入最高的电影在中国的历史，其100000000美元以自七月发布排名它前面的《建国大业，“虽然仍落后”的化身。”冯先生，主任跳跃的浪漫的《天下无贼》和浪漫喜剧《如果你是一个“（3号在票房排名），被称为“中国的斯皮尔伯格。在“余震”比较有意义的方面超越了商业上的成功。他设法减轻最严重的过度苏小卫的脚本。这部电影可能是钝的工具，但它很少伤感-除了性能冯先生的妻子，徐帆，作为母亲和忍耐，有时，很感人。（西方观众仍然会发现一些概念，家庭罪是在顶部，但他们不习惯推定孝道，独生子女政策。
望采纳！
叫“余震”的闹剧真的不这样做正义。不久后，冯小刚的电影开始，一个女人的丈夫刚死在毁灭性的1976唐山大地震看了个。
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