精神病患者电影

邵氏旗下“娃娃(wá )影后“李菁(🥘)倾情出(💷)(chū(🐕) )演,饰演(👸)的狐(hú )仙小仙离开天界,化(🐥)(huà )身为(🌮)人(😟)间女(nǚ(💏) )子,下界(jiè )来到香港找(zhǎo )丈(🏭)夫…… Bugsy Malone希(🐕)望一举(✂)(jǔ )击垮纽约的(de )黑帮(💎)，自己号(🌃)令全(quán )城(🌈)，与Fat Sam及Dandy Dan展(🤡)(zhǎn )开一幕(mù )幕的枪(🙂)战... 取(qǔ(🚓) )材自莎士(⛺)比亚的(📧)喜(xǐ )剧《威尼斯(sī )商(📧)人》，以舞(🕰)台剧(jù )的(🛅)形式拍摄，辛辣(là )的讽刺、(🥘)巧(qiǎo )妙(🕷)的布控无(📼)处不在(zài )，同时充分(fèn )地利(🚶)用夸张(👭)表(🧀)演的(de )技(🔴)巧，传承莎翁的(de )人本精神，表(🤓)达了创作(🐲)主题思(🕢)(sī )想。 该片主(zhǔ )要讲述(shù )的(🏆)是富家子(🐎)(zǐ )高原(🐂)（邓光荣 饰）与大(☕)学生李(🛋)(lǐ )锦文（(🔱)林青霞(🔥) 饰）的恋情受到(dà(🏵)o )高父极(🖐)(jí )力阻止(🏺)，因(yīn )高(📫)父知道李母曾开(kā(🖥)i )酒馆，认(💲)为(wéi )双方(🏛)家世悬殊，不(bú )能婚配。高原(👭)与锦(jǐ(🖼)n )文不顾一(🔯)切(qiē )，私奔到乡间结婚(hūn )。二(💫)人勤劳(👎)(lá(😢)o )工作，高(🥙)原且半工(gōng )读完成大学课(🤷)程，但好景(🤝)不常(chá(🎃)ng )，高原患上脑瘤，变成失明，锦(🏴)文多(duō )方(🚡)奔走筹(🐉)钱(qián )给他动手术。 实(🚈)习(xí )医(🎤)生方洁（(🚳)林青霞(🍩)）是位俏佳(jiā )人。许(🍃)多男(ná(🖇)n )“病人(rén )”慕(🥨)貌而来(🍅)(lái )。路一鸣（邓光荣(🚕)(róng )）真(🚙)患感冒(mà(🙁)o )，来找方医生看病(bìng )，也被当(🙄)成捣乱(🥫)者(👍)(zhě )……(⛵)邂逅相(xiàng )识，路一鸣开始追(🍰)(zhuī )求方(🏎)医(🍯)生。但方(🕷)医生拒之千里(lǐ )。无奈下，路(📕)的朋(péng )友(🏇)屡次使(🙀)用(yòng )“狼来了”的招数(shù )，诓骗(🎩)方医(yī )生(🕣)给路(lù(🔴) )看“病”，以求一见……(🧥)其中(zhō(🌽)ng )，误会接二(🍸)(èr )连三(🐁)，情节颇为戏(xì )剧。整(🚸)个影片(🏼)节奏(zòu )明(🚔)快，搞笑(🧟)(xiào )不断。是一部十分(🐃)(fèn )好看(🤤)的电影(yǐ(🦈)ng )。 "In a town in southern Sweden, Sven Klang decides to enliven his dance combo with a new sax player, Lasse from Stockholm. At first all goes well; but bit by bit Lasse brings into question all the rigid values, musical and social, by which the faintly supercilious Sven has set his life's course. Gunnel, the vocalist, falls for the newcomer's charms and finds herself pregnant when Lasse and Sven eventually part in high dudgeon. The daily round continues. Eventually Lasse pops up again, and disappoints all save Sven by turning tail in the face of Gunnel's love and his sense of guilt at having fathered her child....The appeal of Sven Klang's Combo lies in its utter lack of pretension, in its small town atmosphere and its vivid characterisation. One imagines that the actors were able to improvise their lines and contribute personal touches that fleshed out their roles. Their autobiographies become fiction; but fiction, as so often, also becomes truth. This film recognises that big emotions stem from small incidents and that one is forever a prisoner of one's generation." (Peter Cowie, 1978 International Film Guide)