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嗨,媽媽!

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劇情介紹

  • 影片名稱: 嗨,媽媽!

    影片別名: 老媽看過(guò)來(lái) Blue Manhattan

    影片類型: 喜劇

    影片年份: 1993

    制片地區(qū): 美國(guó)

    由布萊恩·德·帕爾瑪執(zhí)導(dǎo),1970年上映的《嗨,媽媽!》,是由羅伯特·德尼羅、查爾斯·德恩、詹妮弗·紹特領(lǐng)銜主演的電影。

    In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now.  But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film).  In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack.  imdb comment電影《嗨,媽媽!》上映于1970年的喜劇影片,由布萊恩·德·帕爾瑪執(zhí)導(dǎo),編劇 布萊恩·德·帕爾瑪,相關(guān)飾演分別有 羅伯特·德尼羅、查爾斯·德恩、詹妮弗·紹特。這部電影豆瓣7.1分,

    “黑色”+“幽默”

    從魅影天堂開始正序刷完了德帕爾瑪,再?gòu)拇说怪仡櫹滤脑缙谧髌?。說(shuō)實(shí)話,這部作品的喜劇氛圍很淡,有的只是在對(duì)電影、社會(huì)、戰(zhàn)爭(zhēng)諷刺之下背景式的一種自欺欺人的幽默罷了。

    影片其實(shí)可以分為雙線并進(jìn),明線是男主偷拍別人私生活想要賺錢得到認(rèn)可,而暗線則是對(duì)面樓上“Be Black Baby”活動(dòng)的暗中進(jìn)行。明線作為“幽默”擔(dān)當(dāng),講了男主為拍h片,以身作則去搭訕寂寞女鄰居,卻因固定機(jī)位設(shè)置失敗而被炒魷魚的故事,男主失業(yè)變賣攝像機(jī)而換來(lái)一臺(tái)電視,并去應(yīng)聘當(dāng)演員因而遷出暗線“Be Black Baby”運(yùn)動(dòng)。

    暗線完全以黑白畫面展現(xiàn),看似實(shí)際在進(jìn)行,其實(shí)則是男主觀看的電視節(jié)目在呈現(xiàn),講述了幾個(gè)黑人和一個(gè)白人“組織Be Black Baby”這一白人體驗(yàn)黑人生活運(yùn)動(dòng)的發(fā)展。初期他們的活動(dòng)還較為平和,而后則越來(lái)越激化,甚至最后成為了一場(chǎng)屠殺和革命。特別是中端的志愿者體驗(yàn)部分,活動(dòng)中的白人志愿者被組織活動(dòng)的黑人用偷竊,虐待,毆打,甚至性侵的方式來(lái)使志愿者感受到黑人在社會(huì)上所遭受的待遇。其中連男主扮演的能帶來(lái)唯一希望的警察的到來(lái),也是助紂為虐,帶來(lái)的是更加變本加厲的虐待。德帕爾瑪通過(guò)運(yùn)用主觀鏡頭的跟拍,去將電影觀眾與也帶入這一體驗(yàn)運(yùn)動(dòng)中去,手持鏡頭的搖晃與失序,黑白畫面的不確定性,使觀眾感受到電影中人物的恐慌與無(wú)助,帶來(lái)極其震撼的視覺(jué)沖擊。雖說(shuō)活動(dòng)最后以玩笑收尾,但面對(duì)鏡頭,每一名志愿者都上氣不接下氣,一臉嚴(yán)肅地說(shuō)著活動(dòng)給自己帶來(lái)的意義,看來(lái)這“黑色”之下的“幽默”也帶來(lái)了脅迫式的順從。

    電影開頭偷拍的情節(jié),其實(shí)就已展現(xiàn)出了德帕爾瑪早期對(duì)偷拍藝術(shù)和分屏理念運(yùn)用的雛形。通過(guò)偷拍鏡頭的隨意剪輯,展現(xiàn)對(duì)樓人們私生活的日常,來(lái)反映平靜下的暗潮洶涌以及當(dāng)時(shí)人們荒謬的社會(huì)生活。而影片通過(guò)明暗線并進(jìn),彩色畫面的“幽默”與黑白畫面“黑色”暴力的交叉,極大豐富了觀眾視聽體驗(yàn),在主觀鏡頭的帶領(lǐng)下,那些荒謬與諷刺也顯得如此逼真。

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