这是Richard Lester最好的一个片。
An absurdist classic
This is a wonderful surreal comedy based on the play by Spike Milligan and John Antrobus. You know that it is going to be an odd film right at the beginning, when the opening credits list the cast in order of their height. The film begins with the BBC (Frank Thornton) telling us through the facade of an old television that this is the third, or is it the fourth?, anniversary of the shortest war in history, lasting 2 hours and 28 minutes. England is now a barren landscape, littered with derelict cars and buildings, hills of old boots, broken crockery, and other debris. Forty million people perished and there are only 20 known survivors. The Queen did not survive, and of the 20 known survivors the next in line for the throne is a Mrs Ethel Schroake of 393a High Street, Leytonstone. Among the other survivors are Ralph Richardson (O Lucky Man!) as Lord Fortnum of Alamein, who isn't looking forward to his impending mutation into a bed sitting room. Michael Hordern is Bules Martin, who wears a 18-carat Hovis bread ring. Spike Milligan is a postman who wanders around and delivers some memorable dialogue, for example: "And in come the three bears - the daddy bear said, 'Who's been sleeping in my porridge?' - and the mummy bear said, 'that's no porridge, that was my wife' ". Arthur Lowe is slowly turning into a parrot (which is then eaten by Spike Milligan), while his wife, the owner of her own death certificate, turns into a wardrobe. His daughter is pregnant with a strange creature, which she has held inside her for seventeen months. Peter Cook and Dudley Moore are a pair of policemen who perpetually tell the others to "keep moving!". Moore growls a lot and turns into a dog at the end. Marty Feldman is a wellington-boot-wearing nurse. It's a hilarious, absurdist treat, and one of my treasured filmic pleasures.
感觉是现实意义比较重大，作为一部电影和一个故事来看，影片的叙事节奏过于拖沓，充满了无关紧要的细枝末节，和这样高的评分应该有的影片质量比较不符合。
“一个人是否值得尊重，不在于他有多少才能，而是取决于他用才能去做什么。”印度版辩护人，能拍出这样的电影，值得尊敬！
影片的现实意义非凡，几乎可以忽略其艺术性，不同地域、不同时代、不同环境，却能让大多数人感同身受，除了来自真实事件的震撼，本片主创人员的专业素养也扎实过硬，其实难的不是敢不敢拍，而是在一部电影的时间内让人产生共情。
为啥少一颗星呢，紧张程度还是少一些。全靠剧情支撑。印度黑暗，一点点再改变，希望我们也是。
雷伊之后阔别了半个多世纪，印度电影终于回归到了社会最底层。矛盾很尖锐，手段很残忍，过程很煎熬。人们都习惯了对弥赛亚的期待，而且最重要的前提是司法系统是绝对公正的。故事铺陈得很顺畅，尽管片子略长倒也能接受。最大的问题在于宣泄点太多太满，令到观影的乐趣所剩无几。
谁能想到这是真实发生且还在发生的事情呢？PS剧情过于冗长，看了一大半也大概猜到结局便匆匆睡去。
这部里描写的警察看起来智商低，我想之所以他们做事不严谨，应该是认为没人会为犯人出头，被发现的可能性很小，有恃无恐吧。
虽然制作略显粗糙，但影片内容很令人震撼，虚构的况且如此，事实得多令人绝望。
并算不上很妙，伏笔埋得太明显，显得很蹩脚。但要表达的东西倒挺真诚的，其实这样一个故事放到其他国家必定觉得不真实，但在印度真不好说。
真人真事省去了故事基础，但是电影拍的不怎么样。有些事是一定要有人去做的，如果都不去做，那么光明就会被黑暗吞噬！
靠一个正义的律师和一个有良知的警察，翻了一个警察为了破案屈打成招的冤案。一方面，这个故事靠2个英雄解决冤案，看起来是多么理想主义的不切实际，幸好有真实原型事件，否则确实难以确信。另一方面，印度的种姓歧视和底层执法警察的黑暗，真的比香港上世纪四大探长时代还要绝望和恐惧。但是，最终靠2个还有赤子之心的人和公正的法院体系翻盘，这才是印度的希望。最后，印度电影可是比我们有希望的多了，这种题材不仅能拍能上映还能被其他国家看到，多加1星鼓励。
本身是部好电影，但为什么我不爱看印度电影，总是用一些低级的手法，比如出场正面人物的慢动作再加上走路自带BGM的镜头让我十分不感冒。
配音真的很难受，其他的都很完美。有问题，正视问题，解决问题。CN加油。
与政府对抗，这是一条多么艰难的路。
这部电影也告诉我们，正如《在峡江的转弯处》的那句话，“我们不该忘记自己走过的路，同情过的人，呼唤过的正义，渴求过的尊重，也不会轻易洗去那层名叫共情的底色。”
制作上其实不算很精良
重要的不是你有什么才能，多大的才能 而是你用你的才能用于何处
意义在电影之外，电影层面真是鸡汤鸡血轮流地灌啊。。
为低种姓穷苦人伸张正义的真实事件，很感慨，人类和世界纵然有很多的黑暗，但仍因有他们和他们所争得的正义而值得热爱。同样学法律出身的我很惭愧。
speechless... but there is hope and justice. ironically though, in blackwater, it takes years in a modern western world. and then there is also
Copyright © 2015-2023 All Rights Reserved
