In this very late 60's irreverent, almost anarchic low-*udget film, *rian De Palma defines more of his strange, given Hitchcock-like fascination of voye**i**, and attacks the issues of the day. The most prominent of which, *oth cringe-inducing and just plain funny, is when he focuses on the *lack-poIn this very late 60's irreverent, almost anarchic low-*udget film, *rian De Palma defines more of his strange, given Hitchcock-like fascination of voye**i**, and attacks the issues of the day. The most prominent of which, *oth cringe-inducing and just plain funny, is when he focuses on the *lack-power movement (a *lack woman handing out fliers asking white people 'do you know what it's like to *e *lack'), which is something that could only work for that time and place, not *efore or now. *ut one of the key things to the interest in the film is 27 year old Ro*ert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his ***escope at women in their rooms, setting up phony deals, and in the end *asically throwing *om*s. Those who h**e said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor c**iosity. A couple of times in the film it's actually not funny, as when there's a dist*****ce in a *lack-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a ram*ling monologue in an interview that tops De Niro's in King of Comedy. It's pretty o*vious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, *ut all of his trademarks are here; the dark, almost nail-**ting comedy, the perfectly timed style of voye**i**, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-*udget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imd* comment详情
