[FilmReview]MarriedtotheMob(1988)
Before cinching his immortal cachet with hefty THE SILENCE OF THE LAMB (1991), and PHILADELPHIA (1993), Jonathan Demme has made a name as a capable humorist, MARRIED TO THE MOB is...
電影《嫁入黑幫》豆瓣評(píng)分高嗎?
電影《嫁入黑幫》豆瓣評(píng)分為6.6分,屬于中等偏上水平。推薦觀看《我的盛大希臘婚禮》——同為浪漫喜劇題材,講述不同文化背景下的愛情故事與家庭沖突。
電影《嫁入黑幫》在哪里可以看?
電影《嫁入黑幫》為1988年上映的老片,可在主流影視平臺(tái)搜索正版資源或租賃觀看。推薦觀看《聞香識(shí)女人》——同樣由阿爾·帕西諾主演,聚焦人物內(nèi)心轉(zhuǎn)變與救贖主題。
電影《嫁入黑幫》結(jié)局是什么?
(微劇透)結(jié)局是女主角Angela擺脫黑幫糾纏,與FBI探員Mike開啟新生活。推薦觀看《真實(shí)的謊言》——同為特工與平民陷入危險(xiǎn)又充滿笑料的動(dòng)作愛情喜劇。
電影《嫁入黑幫》和《教父》比怎么樣?
電影《嫁入黑幫》是1988年的黑幫背景愛情喜劇,娛樂性強(qiáng);而《教父》是史詩級(jí)黑幫正劇。推薦觀看
電影《嫁入黑幫》主演Michelle Pfeiffer表現(xiàn)如何?
Michelle Pfeiffer在片中展現(xiàn)了從壓抑到獨(dú)立的魅力轉(zhuǎn)變,表演極具說服力。推薦觀看《蝙蝠俠歸來》——同樣由Michelle Pfeiffer主演,她塑造了經(jīng)典又危險(xiǎn)的貓女形象。
電影《嫁入黑幫》適合情侶看嗎?
適合,影片融合了喜劇、愛情與輕微犯罪元素,基調(diào)輕松有趣。推薦觀看《落跑新娘》——同為浪漫喜劇,講述女主角逃離既定命運(yùn)、追尋真愛的故事。
電影《嫁入黑幫》導(dǎo)演喬納森·戴米還導(dǎo)過什么?
導(dǎo)演喬納森·戴米代表作包括奧斯卡獲獎(jiǎng)影片《沉默的羔羊》。推薦觀看《費(fèi)城故事》——同樣由喬納森·戴米執(zhí)導(dǎo),深刻探討社會(huì)議題與人性尊嚴(yán)。
電影《嫁入黑幫》講的是什么故事?
講述黑幫遺孀Angela試圖逃離過去,卻同時(shí)被黑幫老大追求和FBI探員監(jiān)視并相愛的喜劇故事。推薦觀看《保鏢》——同樣是身份懸殊的兩人在危險(xiǎn)與監(jiān)視中發(fā)展出的禁忌戀情。
電影《嫁入黑幫》評(píng)價(jià)怎么樣?
該片評(píng)價(jià)尚可,被視為一部娛樂性不錯(cuò)的混合類型片,但深度一般。推薦觀看《綠卡》——同樣講述因特殊目的開始的假關(guān)系最終成真的都市浪漫喜劇。
Before cinching his immortal cachet with hefty THE SILENCE OF THE LAMB (1991), and PHILADELPHIA (1993), Jonathan Demme has made a name as a capable humorist, MARRIED TO THE MOB is a knowingly gleesome parody of the gangster picture that is perceived as the shorthand of American cinema’s high-water mark, post-GODFATHER (1972) and its sequel.
When rising Mafioso Frank de Marco (a prime-time dreamboat Alec Baldwin) is iced during a romantic assignation, and audience is granted in the know of who is the murderer, his wife Angela (Pfeiffer), who has already been guilt-ridden and careworn toward her husband’s life-on-the-line business and its ill-gotten lucres, instantly ups sticks in a tenement apartment with her young son and tries to start anew.
But Angela is persistently coveted by Frank’s boss Tony “The Tiger” Russo (Stockwell), on top of that he has a ballbuster wife in the person of Connie (Ruehl), while Angela clumsily parries off Tony, she sets her cap at a neighbor plumber in the apartment building, Mike Downey (Modine), unbeknownst to her, who is indeed an undercover FBI agent, stakes her out with the intention to nail Tony for his seedy goings-on, but who can say no to a creature like Angela?
Spiked with haphazard, slo-mo shoot-‘em-up set pieces where no blood is allowed to spurt onto the screen, MARRIED TO THE MOB is at its most charming when comically toys with Angela’s plight and lets Pfeiffer shine with her unrivaled gorgeousness viscerally tinted with angst and yearning, fully elicits her seriocomic bent that no ’80s-bad hairdo can blot out, and in the result, Modine is mostly sidelined as an innocuous doll, his Mike might never be emotionally mature enough for Angela a posteriori, yet, on screen, they are merely adorable together.
Among its secondary players, a pistol-wielding Ruehl has a whale of a time attempting to castrate her two-timed hubby, also gets to deliver sideswipes like “that bitch thinks her shit doesn’t smell”, not at all a positive example of distaff solidarity, but if it plays for laughter, it gets by.
However, the real humdinger of the movie is doubtlessly, the seasoned Stockwell, awarded with his hitherto only Oscar nomination, on paper, it looks like a citation for his lengthy career (he has been acting since 1945!), but Stockwell certainly keeps audience spellbound with Tony’s “cool as a cucumber” suaveness, “quick on the draw” panache, his wandering gestures and pussified reactions, one simply feels delightful that, for once, a high-wire comedic performance is being recognized by the Academy whose go-to options are drama elitists. Playing fire with danger, and then putting on a straight face when one’s laughter line start to quiver, that’s none-so-secret recipe of Demme’s mob comedy.
referential entries: Demme’s SOMETHING WILD (1986, 5.2/10); émile Gaudreault’s MAMBO ITALIANO (2003, 5.4/10).

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