今天补了Jimmy这部,超出预期的作品。 看到前半段我还以为只是单纯喜剧片，毕竟Jimmy演绎的太可爱了，不论是每次为大兔子开门或是请它走在前面，都尽显绅士风度。喝酒也为其点上一杯，去精神病院最先给兔子🐰搬椅子，和他一起分享阅读，还让画家为其画像。 到后面的剧情亦真亦假的虚幻与现实融合，让人思考许多，尤其是两场对话：1.司机向姐姐讲述的见闻2.Jimmy与胖医生天马行空的对话，导演正是用两段对话表达主题。 第一段对话：“正常人”总喜欢用他们世界的标准来评判正常/非正常的界限，所以才会出现开头闹乌龙的剧情，界限非常死板且僵硬，仿佛世界颠倒。被定义成“不正常”的人，常常会受到排挤与隔阂，因为他们无法接受与自己不同的人。社会一直都是在往“共性”方向发展，讲究个性不容易被“管理”。 第二段对话：对话里提到了时间空间，非常有四维空间之说，瞬间想起《珍妮的画像》，但后来发现不是。如此天马行空应该是把大兔子隐喻成类似于“想象力”“有趣的灵魂”之类的意思，也可以说成“精神世界”。 全程Jimmy都是开心幸福的表情，说明他与兔子相处愉悦，也就代表他的精神世界足够丰富。如果一个人丧失思考、活力、精神世界和想象力，如同行尸走肉，这也正是大多数“正常人”之常态。

“My mom told me‘in this world, you must be oh so smart or oh so pleasant', well, for years I was smart. I recommend pleasant.” This bread of life is from Elwood P. Dowd (Stewart), an extremely courteous middle-aged bachelor inHenry Koster’s HARVEY, an economical but gleeful comedy pivots around a looney tunes idea, courtesy to the titular Harvey, a pooka only visible to Elwood in the form of a6' 3½”tall rabbit. Living with his sister Veta Louise (Hull) and her spinster daughter Myrtle Mae (Horne) in their family residence,Elwood again unwittingly sabotages a social gathering arranged by Veta Louise to find a suitor for Myrtle Mae by introducing everyone present to the invisible rabbit friend. Enough is enough, Veta Louise finally decides to put Elwood in a sanatorium headed by Dr. Chumley (Kellaway, circumspectly vacillating between authoritative and ingenuous), and a series of comedy of errors crops up apace one after another, with the amiable Elwood blithely incognizant of the hullabaloo, staying in character, keeping dishing out his calling card to whomever he meets and inviting them to dinner, en passant, match-making the bickering Dr. Sanderson (Drake) and nurse Miss Kelly (Dow) and spreading wisdom in the disguise of fanciful notions, eventually, it is quite irrelevant whether or not he is anold soak who is off his trolley, everyone needs a pooka (or a spiritual animal) for guidance. James Stewart is nominated for an Oscar for magnificently amplifying Elwood's honest-to-goodness geniality and it is a tremendously heart-warming performance because guilelessness, more often than not, inclines to be contrived or over-acted in the hands of seasoned players, but not Mr. Stewart, whose self-deprecating demeanor adds a rather charismatic affinity to the character, it only generates solace to be awash by his pleasantries, as it is the theme of the story, to remind us that altruistic kindness is not a given but an often neglected merit, especially in an increasingly restive, skeptical world as we reside today. The film won an Oscar for the rara avisJosephine Hull, a stupendous stage actress whose film works is only handful, she is such a gas as the balmy and hapless Veta Louise, often kitted up with a whirlpool of line-delivery which she showers upon audience with a comical flourish without diminishing the effect of exigency, and safely secures the payoff when Veta Louise changes her mind in the nick of time to keep the status quo. By and large, the film appears less organic in second-guessing, e.g. the pairing of Myrtle Mae with a boorish Marvin Wilson (White) is cavalier and slightly distasteful, but to honor the precious well-intention behind this shaggy-dog story and its minutely apt arrangement of the-rabbit-in-the-room (aka. Harvey’s apparitional presence), the film deserves its own place in the treasure trove of Hollywood’s finest, not least for its eccentric wrinkle and two extraordinarily pleasurable performances.

referential points: Koster’s MY COUSIN RACHEL (1952, 6.3/10); Frank Capra’s MR. SMITH GOES TO WASHINGTON (1939, 8.7/10), ARSENIC AND OLD LACE (1944, 7.3/10).

《迷离世界1950》8.1 如果一个馒头能引发血案，那么一个神经病就能引发大量笑话和黑色幽默，哈哈，全程！如果《美丽心灵》《壁花少年》《搏击俱乐部》《禁闭岛》《致命ID》等这些彩色电影的神经病的内心是极端痛苦或者痛苦到邪恶，那么1950的黑白电影《迷离世界》的神经病就是绅士儒雅温柔有礼阳光快乐，能把精神病院的心理学博士兼院长也糊弄成精神病，他的这种阳光快乐，只有《谋杀绿脚趾》的督爷堪比。他的这份温情美好，也只有中国香港经典神经病电影《神探》的刘青云堪比。结尾是神结尾，有高度又深刻的喻意。