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寅次郎的故事45:寅次郎的青春
阿泉在东京的唱片商店里打工已经有半年了。赏月之夜,满男把她接来一起过节,顺便为她改善伙食。叔叔婶婶想念远在他乡的阿寅,两位老人过了一个清冷的节日。 阿泉去宫崎参加朋友的婚礼,阿寅也刚好在那里,他是因为雨天而留在蝶子的理发店里。阿寅和蝶子在路上遇见了阿泉。阿寅扭伤了脚,只好继续住上一段时间。家里人惦记着阿寅的身体,满男赶去宫崎,见到送阿泉来的蝶子的弟弟龙介,并产生了误会,直到见到了他的未婚妻由美才得以释怀。 蝶子喜欢阿寅,在他离开后不久就闪电般地嫁给了一位认识不久的人,阿寅知道后怅然若失。和阿寅有同样心情的还有满男,因为阿泉不得不辞职回家乡照顾做手术的妈妈,他们只能靠鸿雁传情。
嗨,妈妈!
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