Inthisverylate60'sirreverent,almostanarchiclow-budgetfilm,BrianDePalmadefinesmoreofhisstrange,givenHitchcock-likefascinationofvoyeurism,andattackstheissuesoftheday.Themostprominentofwhich,bothcringe-inducingandjustplainfunny,iswhenhefocusesontheblack-powermovement(ablackwomanhandingoutfliersaskingwhitepeople'doyouknowwhatit'sliketobeblack'),whichissomethingthatcouldonlyworkforthattimeandplace,notbeforeornow.
Butoneofthekeythingstotheinterestinthefilmis27yearoldRobertDeNiro(nothisfirstorlastfilmwiththedirector),whoplaysthischaracterwhositsinaroomlookingoutthroughhistelescopeatwomenintheirrooms,settingupphonydeals,andintheendbasicallythrowingbombs.ThosewhohavesaidthatDeNirocan'tactandjustishimselfineverymovieshouldseethismovie,ifonlyoutofsomeminorcuriosity.Acoupleoftimesinthefilmit'sactuallynotfunny,aswhenthere'sadisturbanceinablack-powermeeting(filmedinagrainer,rougherstylethantherestofthefilm).
Intheendit'scappedoffwitharamblingmonologueinaninterviewthattopsDeNiro'sinKingofComedy.It'sprettyobviouswhereDePalma'scareerwouldgoafterthis,intoslightlymoremainstreamHollywoodterritory,butallofhistrademarksareherethedark,almostnail-bitingcomedy,theperfectlytimedstyleofvoyeurism,andinterestingusageoflocals.ThinkifDePalmaandDeNirodidaMontyPythonfilm,onlyevenmorelow-budgetandinitsNewYorkwayjustasoff-the-hinges,andyougotHi,Mom!Italsocontainsaneccentricandfunnysoundtrack.
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