《长跑者的寂寞》是一部由托尼·理查德森执导，汤姆·康特奈 / 迈克尔·雷德格瑞夫 / Avis Bunnage主演的一部剧情 / 运动类型的电影，特精心从网络上整理的一些观众的观后感，希望对大家能有帮助。

　　《长跑者的寂寞》观后感(一)：被忽视的六十年代英国电影

　　提及六十年代，会想到法国新浪潮、新德国电影，还有美国开始萌芽的独立电影

　　却总会忽略英国电影

　　仔细想想

　　除了电影初期的布莱顿学派和之后的纪录电影学派

　　英国能说上口的类型和学派着实不多

　　但细细看了理查德森的这部电影

　　真心是大师之作

　　那个年代的电影大多会涉及政治和现实，《长跑者的寂寞》不算独份

　　但着重从青少年的视角来讲述故事

　　并且不像维果的《操行零分》，只限于表象

　　这部电影多了精神分析式的心理挖掘，把个人成长和家庭、社会联系在一起，可歌可叹

　　这才是像样的青春电影啊

　　一直期待国内能弱化风花雪月、儿女情长，拍一些真正表现青少年心理的青春电影

　　不是没有标杆、不是没有典型

　　无论怎样，怀揣期待吧

　　《长跑者的寂寞》观后感(二)：微博体影评——《长跑者的寂寞》

　　1.准确的说，是参加过“自由电影运动”的导演托尼.理查德森根据“愤怒派”小说改编的电影。2.有人居然评论说是意识流电影，我更认为最后比赛中的意识流段落本身是对长跑中的“极限”现象的视觉化模仿，同时也通过他心理的冲突对他最后的选择做出铺垫；抛开该片其它部分的现实主义风格不谈是非常不明智的。3.还有人评论说该片更像《公民凯恩》而不是《四百击》，让人无法理解。可以说本片的倒序、插叙的叙事策略可能让人联想起《公民凯恩》，不过同《四百击》相通的母题是更无法忽视的。家庭问题、少年犯罪；同四百击一样，横移的跑步长镜头显现了一个孤独的逃离社会管制的少年形象，与之不同的是，本片中跑步本身成为了一种反抗的方式，他不再无路可逃，停下来就是反抗。4.相比起法国新浪潮更为简单直接的户外拍摄、手持镜头，本片的黑白摄影无疑更为考究。从片中那些细腻的低调镜头以及夜景场景中就可见一斑。5.剪辑极赞，既有针锋相对的特写对话场面，也有借助镜头和人物运动实现的转场。

　　《长跑者的寂寞》观后感(三)：寻找孤独的一代人

　　收拾电脑的时候，发现了这部已经下完的电影，下午没有事做，姑且打开了这部黑白电影。

　　电影长一个半小时，在看了大约一半的时候完全进入了电影。那一刻，外出奔跑的Col享受到了放风的快乐，但快乐的时间并没有那么长久，Col象所有跑在路上的人一样，他回忆起了只有一个人独处而感到无聊时才会想到的过往。

　　对于英国整个大不列颠少年的那段特殊的日子，我的第一次接触是《猜火车》，再继续是毛姆的小说《人生的枷锁》，两者相隔了将近100年，却在深层又有着绝对的相似。这类题材比较暴力的是《迷墙》，拼客弗洛伊德的主唱把自己的故事用自己熟悉的方式搬上了荧幕，我们会看到与《长》相同的社会状况、一样的母亲、少年同样冷酷的眼神；还有《浴室春情》，典型的英伦范，讲述了一个扼腕的挽歌。

　　英国的少年，他们在传达着什么，无论是《猜火车》的只要活下去就有出口，还是《迷墙》的总有那么一天墙会击碎，还是这部电影的有所隐患早晚都会以某一方式出现，他们都在说话，都在用声音传达一个社会的影响——因为少年是刚刚接触社会的一群人，他们没有融入社会，才会看得更加真实，就象婴儿降生到这个陌生的世界，一切都是最初的认知，充满了好奇心的变奏，却饱尝了不安的情绪，有如初夜被撕裂的内衣，天使般的顺从与恶魔般的反抗并存。

　　然而，我在哪儿？作为中国人的我呢？美国有迷惘的一代，英国有帝国末年的一代，日本有东京光怪陆离的霓虹灯下彷徨的少年的哀愁，中国却没有，一片价值观，一片高声的标准淹没靠近社会边缘的一切。

　　少年都是寻找孤独的一代，这样说似乎有一种强说愁的滋味，但是我还要这样说，用一份参与者的心态参加一场被人遗忘的祭奠。

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　　可是这些意思没能在电影里很好的表达出来，所以奔跑本身在电影里简直只是一个抒情工具（当然相关影像还是拍的很好），换成其他运动也可以了。

　　导演称A Taste of Honey (1961) 和 The Loneliness of the Long Distance Runner (1962)，是他拍的最愉快的两部电影。

　　摄影师认为 Taste of Honey (1961) 和 The Loneliness of the Long Distance Runner (1962)的出众之处并不在于描述工人阶级生活，而是在于它们对工人阶级生活有一种诗意的视角，原话就是"It is not at all a strictly realistic view, it is very much a romantic view, and that is what attract me to them."

　　关于主角为什么不跑的问题，原著有大段的心理描写：

　　【The pot-bellied pop-eyed bastard gets pleased at this: "Good show. I know you'll get us that cup," he says.

　　And I swear under my breath: "Like boggery, I will." No, I won't get them that cup, even though the stupid tash-twitching bastard has all his hopes in me. Because what does his barmy hope mean？ I ask myself. Trot-trot-trot, slap-slap-slap, over the stream and into the wood where it's almost dark and frosty-dew twigs sting my legs. It don't mean a bloody thing to me, only to him, and it means as much to him as it would mean to me if I picked up the racing paper and put my bet on a hoss I didn't know, had never seen, and didn't care a sod if I ever did see. That's what it means to him. And I'll lose that race, because I'm not a race horse at all, and I'll let him know it when I'm about to get out--if I don't sling my hook even before the race. By Christ I will. I'm a human being and I've got thoughts and secrets and bloody life inside me that he doesn't know is there, and he'll never know what's there because he's stupid. I suppose you'll laugh at this, me saying the governor's a stupid bastard when I know hardly how to write and he can read and write and add-up like a professor But what I say is true right enough. He's stupid, and I'm not, because I can see further into the likes of him than he can see into the likes of me. Admitted, we're both cunning, but I'm more cunning and I'll win in the end even if I die in gaol at eighty-two, because I'll have more fun and fire out of my life than he'll ever get out of his. He's read a thousand books I suppose, and for all I know he might even have written a few, but I know for a dead cert, as sure as I'm sitting here, that what I'm scribbling down is worth a million to what he could ever scribble down. I don't care what anybody says, but that's the truth and can't be denied. I know when he talks to me and I look into his army mug that I'm alive and he's dead. He's as dead as a doornail. If he ran ten yards he'd drop dead. If he got ten yards into what goes on in my guts he'd drop dead as well--with surprise. At the moment it's dead blokes like him as have the whip-hand over blokes like me, and I'm almost dead sure it'll always be like that, but even so, by Christ, I'd rather be like I am--always on the run and breaking into shops for a packet of fags and a jar of jam--than have the whip-hand over somebody else and be dead from the toe nails up. Maybe as soon as you get the whip-hand over somebody you do go dead. By God, to say that last sentence has needed a few hundred miles of long-distance running. I could no more have said that at first than I could have took a million-pound note from my back pocket. But it's true, you know, now I think of it again, and has always been true, and always will be true, and I'm surer of it every time I see the governor open that door and say Goodmorning lads.】

　　我理解是主角不想像赛马那样，为别人的利益服务，要活出更自由的人生，即使可能付出更大的代价。

　　影片最后奔跑完成后主角的笑容并非剧本事先的安排，而是纯属意外。