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剧情简介 《嗨,妈妈!》是1970年的一部喜剧片。由布莱恩·德·帕尔玛执导，詹妮弗·绍特、查尔斯·德恩、罗伯特·德尼罗等联袂主演。嗨,妈妈!，又名Hi, Mom!、老妈看过来。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
综合评分：
DVD电影网评分6.9，算是一部中等的电影作品，感兴趣的朋友可以看看。
影迷点评：
zghing 说：传媒对色情暴力残酷现实的消费，让意义发生偏移，对表面意义和背后意义的嘲讽，就像擎着摄影机喋喋不休的说着种族问题，对镜头里的枪杀视若无睹，种族问题的核心是暴力问题。即便是暴力凶杀，加上遮幅画框就产生了共情的免疫，一切都可以是一场秀，越残酷，越真实，越地道。现实，电影，电影里的电视，大落地窗像一个舞台台口，一个个孤独的灵魂在自己的标准化公寓里顾影自怜，渴望陪伴，暴露和被监视，危险和刺激，需求和忌惮，对恐惧的恐惧，趁虚而入的也许是表演型人格步步为营的周密设计，也许是狼狈为奸的正中下怀，炸毁大楼的凶犯，可能为了逃避家庭责任，对着电视大谈越战的血肉横飞，呼吁关怀，最后只是想对电视前的母亲说：“嗨，妈妈。”真正的玩世不恭，讽刺，真正的形式感，德帕尔马永远偏爱监视，对后窗的领悟更有深度。
喂饭 说：能在De Palma的早期电影中看到他与Hitchcock之间的谱系关系。他们都是面向人类心灵中复杂分歧的作者（也是谎言爱好者），Palma在“后窗”的景框中加了一条中线，把观看的荒谬变成“观看的规则”的荒谬。Hitchcock电影中激烈的心理运动总会走向间歇或休止（类似音乐），De Palma的间歇是假象，谎言总是亟待戳穿，因为更多的语言意味着更多的谎言，所以激烈的心理斗争将永无休止。
秦诺诺 说：用一种调侃电影的方式表现时政，手持摄影，主观镜头，伪纪实感，让观众有一种莫名的身临其境的现实感，而片中主角们怪异的言行和举止又在现实感中增加了一些超现实。从另一个角度来说这也是一部怪异的迷影电影把后窗和梅尔维尔结结实实的调戏了一把，尤其是梅尔维尔这一定是被黑的最厉害的一次。。。
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