洞2024

　　改编自《纳粹与精神病医生》，聚焦二战结尾，纽伦堡法庭对德国劳工阵线领导人罗伯特·莱伊的审判(其后来在狱中自杀)，以被委任来对纳粹头领们进行评估的美军精神科医生Douglas Kelley的视角展开。

 解放战争未期，北大荒某地。已转业的老战（崔嵬 饰）响应国家号召，来到黑龙江开荒建农场，和他一起来的还有过去的通信员小冬子（孙永平 饰）和周清和（顾也鲁 饰）。小冬子热情活泼，周清和则对荒无人烟的北大荒心存畏惧。老战在一个废弃的碉堡中建立筹备处，他对北大荒的未来充满信心。不断涌来的垦荒大军和农业机械让老战满心欢喜，在和副场长赵松筠（韩涛 饰）进行一番争论后，坚持播下一万亩冬小麦，以期来年夏收。一天，残存的国民党匪兵偷袭了附近村庄，老战闻讯，组织农场人员前去剿匪，帮百姓夺回了被抢走的粮食，百姓们深受感动。当夏收时，收割机不够用，当地百姓自发帮农场割麦子，“虎口”夺粮的壮举深深感动了农场职工，而老战也面临接受新的任务......

　　52岁的梁宽，自觉他前半生的人生经历了三个巨浪：一，当阿Ann令他由男仔变成男人的那天；二，几年后他娶了阿Ann，自此变成一个老婆奴的那天；三，阿Ann认为他没出息，带走8岁女儿，母女从此人间蒸发的那天。经历过人生的三个巨浪，梁宽化悲伤为力量，由一个我见犹怜的小男人，蜕 变成为一个人见人怕的大男人。今天，他已经是上市公司主席……身边的大红人，他学哓用无所不用其极的手段去赚钱，他拥有的财产，已足以让他一生无忧，而梁宽的最大遗憾是…阿Ann看不到他的「长进」。可是自从梁宽发达之后，他很怕照镜，没有原因地，他害怕面对镜中的自己。喜喜回归，对梁宽来说是人生另一个巨浪，他不懂怎样做一个21岁、卜卜脆，兼拥有33D上围的女儿的爸爸，毕竟在梁宽的记忆之中，喜喜只得八岁，而喜喜的回归，亦悄悄改变著梁宽，他终于能再次面对镜中的自己，因喜喜令他有勇气去再年轻，再任性一次。

　　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