求《飞越疯人院》的英文影评!飞越疯人院的影评，在250...

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给你找了三篇.自己看看吧

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Both uplifting and disheartening, sometimes both at once

I went into this film with the knowledge that it had been the second film in history to win the 'top five' Oscars (for Best Picture, Best actor, Best actress, Best director and best screenplay) and has been praised as "one of Jack Nicholson's finest roles" and "one of the classics of the 70's". Naturally, after hearing all this, I had high expectations for One Flew over the Cuckoo's Nest. But nonetheless, I was surprised at how easily the film surpassed my expectations and easily led me to understand how it merited all that praise.

Based on the novel by Ken Kesey, the story follows Randle Patrick McMurphy (Jack Nicholson), who, in an attempt to get out of spending more time in prison, pleads insanity for his crime, and is therefore sentenced to time in a mental institution. This was McMurphy's intention, as he believes the conditions in a "crazy house" will be significantly easier to contend with than another harsh stay in prison. However, he quickly finds out that surviving the institution with it's desolate patients (including Christopher Lloyd, Danny DeVito, Vincent Schiavelli and an absolutely brilliant Brad Dourif as the stuttering Billy Bibbit) and the monstrously repressive Nurse Ratchet (Louise Fletcher, in a career defining role) is considerably harder than he imagined. McMurphy plays pranks, horseplay, and is generally defiant to the rules of the institution in an attempt to raise spirits. His constant optimism and reckless defiance to the out of date rules in the institution can be very uplifting, and often quite funny as well, but much of the movie can be very depressing - the generally decrepit state of the institution is a consistently (and intentionally) bleak background to a superb story with a truly bittersweet ending.

Jack Nicholson is at his best here, head and shoulders above other excellent performances such as in 'Chinatown' or 'As Good as it Gets'. McMurphy is an apparently unquenchable optimist, refusing to succumb to the defeated spirit of all the other patients. His livewire antics, inspiring the patients are generally uplifting, and when his indomitable spirit is finally broken, we really feel for him and his fellow patients. Nicholson conveys the essence of McMurphy to perfection, demonstrating his excellent understanding and interpretation of the character. When McMurphy announces that he is going to lift a huge stone fountain and hurl it through the window to escape, the other patients are so caught up in his intoxicating spirit of freedom that they honestly believe he can do it, despite the fact it would be impossible for a man much stronger than him. When McMurphy finally discovers that despite his best efforts, he cannot lift the fountain, he is so openly crushed that we can't help but feel for him. Beneath the frequent profanities and livewire antics, there are real human emotions, which come across as truly touching.

What can be said about One Flew over the Cuckoo's Nest which hasn't already been said? It has an excellent storyline, top notch acting, painfully bleak visuals, perfectly setting the tone for the movie, and alternates between being truly uplifting to devastatingly depressing. It features perhaps the most memorable film ending ever, next to a man on his horse riding off into the sunset, and leaves the viewer beaten down by the conflicting emotions, unaware what to think of the picture next to reveling in it's glorious entirety. It's hard to produce a final outcome any better than this.

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A great order vs. chaos tale that everyone can relate to

Based on the amazing novel by Ken Kesey, Randall Patrick McMurphy is an antisocial and dangerous man no different than a petty criminal, placed in a mental ward to have his behavior studied. He makes friends with lunatics and starts his own circle of admiration within the hospital, much to the dismay of Nurse Ratched, the central authority figure in the story and one of the greatest movie villains ever.

The movie exists to show not only how corrupt and poorly-constructed society's approach to the "mentally unstable" is, but it creates characters that we have all met in life and shows how the McMurphy-like figure that we all wish we had fights for freedom of choice and basic human rights. In addition to the movie's great spirit, the acting is fantastic. Jack Nicholson is at his best and Danny DeVito can be seen in his very first acting role ( which he absolutely triumphs in ). And of course, there's the unforgettable Chief Bromden. The directing by Milos Forman is very well-done, as the camera-work is excellent and follows the pace of the movie perfectly in how it is used. What really impressed me was the editing, especially as far as the use of audio goes: some parts just made me go "...wow."

My only complaint is that I believe the movie could've been slightly more effective if it were based more closely on the novel at certain points, but the modified point of view of the film does make a great point; anyone who has ever hated their job, been accused of something, had some person so self-righteous and convinced of their own authority and dependency on order get in your way, or attended the American public school system at any point in their life should be able to identify with this movie.

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A wonderful film

Before I discuss this exceptional film, I need to point out that there is a lot of truth to this film if you are looking for what it was like in psychiatric hospitals in the 1950s and into the 60s. The hellish practices and dehumanization was definitely true of many facilities during this era. However, today, many of the horrific abuses are no longer relevant. So, while some will point to this film as proof that psychiatry in general is evil personified (such as the Scientologists), for the most part, this isn't the case today. Shock treatment is rarely done today and when it is, it's nothing like it is portrayed in the film and it actually has therapeutic value when all else fails. Lobotomies are also thankfully a thing of the past. So, while debating the pros and cons of hospitalization and medications is reasonable today, don't assume the film is in any way like psychiatric institutions today--many of which have been closed or severely reduced in size as well as the length of stay of the average patient.

The film begins with a cocky sociopathic criminal, McMurphy (Jack Nicholson), being sent to a psychiatric hospital from prison. It seems McMurphy thinks that by "playing crazy" he'll have an easier time and shorter stay in a hospital instead of prison. However, over time, he comes to see that a mental hospital is a pretty sick place--particularly when it comes to the crazy staff who run the place. McMurphy responds to this system by constantly fighting it and trying to subvert their needless rules and control. Some of this is very funny (such as the fishing trip) and you can understand why he would fight the oppressive ways of the hospital. In the end, however, the system ultimately crushes him like so many others. The conclusion is certainly something you won't forget!

Although Jack Nicholson was great in the film as were the rest of the ensemble cast, the star in the film was Louise Fletcher. She played the coldest and most awful nurse in the history of film. Her tough performance truly made the film. Otherwise, if she hadn't been so utterly devoid of humanity, the film just wouldn't have worked. Oddly, the film's producers had a hard time accepting her for the job--and she was the last one cast in the film.

Exceptional in every way--the writing, acting and direction. The only reservation I have regards the misuse of the film by anti-psychiatry groups. However, I am glad the film was made as the abuses of the industry need to be understood and not forgotten.

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最后找篇短的吧.

Nothing else comes close!

This is in my opinion the greatest American Movie of all time (be it directed by an Eastern European and produced by a second generation Eastern European/American.

It has everything I personally look for in a film. The acting is so convincing that if you didn't know otherwise you'd swear it was real. The script and ad-lib are fantastic. It's intriguing, humorous, emotionally charged, heartbreaking and politically biting all at the same time.

Foreman, Douglas, Nicholson, DeVito, Lloyd and co will never (ever) top this or even get near it if they live to be a hundred.

I hold this movie responsible for my failure to pass the Biology, Chemistry and Physics exams of my final year of School. The night before the papers, I was so engrossed in this movie I stayed awake until 2am and could not get back to sleep after.

I know Jack Nicholson could play the standard non-conformist in his sleep but "One Flew Over The Cookoo's Nest" is the closest Hollywood has come to genius. It should be shown to anyone having a hard time fitting in, feeling a bit different, getting force-fed useless crap from teachers, bored in a tedious working environment, dominated by parents or pushed around by work management. If you watch it and absorb it it will bring out the MacMurphy in all of you.

A total timeless classic because it was relevant when it was made (five years before I was born), it is relevant today and it will still be relevant after I am firmly in the ground.

其他类似问题

问题1：哪位亲有质量飞越疯人院的高一些的英文影评~[英语科目]

飞越疯人院英文影评521篇,有些质量很高：

IMDb user reviews for One Flew Over the Cuckoo's Nest

问题2：请人帮个忙,的影评谁帮我写点,英文的,

这里找到几篇,供参考：

·One Flew Over the Cuckoo's Nest

Talent: Brisbane Arts Theatre

Directed by Jan Paterson

Until 12 June

Date of Review: Thursday, 3 June 2004

I am not keen on the notion of critics comparing one production with another of the same play. I am really not keen on critics who compare film versions with stage versions and vice verse and so it is here that I run into my first and only major problem with this particular play. As such I will have to at least make mention of the film versus stage dilemma as it relates to this show.

Jack Nicholson defined the role of Randle P. McMurphy for all time in the movie of the same name and has since made it nearly impossible for actors who have tried to bring something new to the many subsequent stage versions. However, Michael Mudd may just be the exception to a rather generalist rule here. He has managed to capture just enough of Nicholson's menace to make the role identifiable to so-called film "purists", while at the same time bringing much of his own interpretation to the role as well. Mudd's McMurphy is just as menacing but perhaps a little more subtle than Nicholson's - and rather cleaner looking too!

That, however, is as far as I really wish to go with the comparisons. As I said I don't think much is to be gained by continuing down that path.

In this particular production the Arts Theatre have really excelled themselves in regard to producing a good piece of well-directed, tight, well-designed theatre. I feel at least some of this is due to the casting of Michael Mudd in the central role but that should not detract from the pivotal (and in many cases quite exceptional) work done by actors in many of the other roles. Nor should it detract from the work done by director Jan Paterson, who steered the creative energies of the cast into a coherent production so very different from much of her previous work.

The cast is really rather too large to single any one member out for individual comment. However I feel an exception should be made in the case of Karen Peart in the role of Nurse Ratched. While being possibly about ten years too young for the role, I believe she brought considerable vision to the role. She captured beautifully the uneasy balance of a woman who appears like the ultimate bitch but who understands, probably better than McMurphy, that the structure her regime offers is possibly the only hope for some of her patients.

This is a good play, with strong characterization, written by a talented playwright and it has lost none of its appeal in the forty years since it was written. Attention to detail on the part of Graham McKenzie as set designer, and Robin Edwards as costume designer have also gone a long way to ensuring that this community theatre production of a classic of twentieth century theatre will go a long way to being the success it deserves to be.

I have praised and criticized the Arts Theatre on a number of occasions in regard to their productions and therefore have no hesitation in encouraging you to support this particular production.

Four Stars

Nigel Munro-Wallis

·One Flew Over the Cuckoo's Nest

Theater Guild of Webster Groves

Reviewed by Sean Ruprecht-Belt

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Audiences going to see the stage adaptation of Ken Kesey's brilliant novel, One Flew Over the Cuckoo's Nest now playing at the Theater Guild of Webster Groves may be in for the theatrical equivalent of a pre-frontal lobotomy. The novel, a masterpiece of 1960's fiction, places it's anarchic, lost hero, Randle McMurphy in a mental institution as a sort of symbolic representation of Kesey's anarchic, generation lost in the madhouse of an American society. As a novel, full of passion and wildness, it works. McMurphy shows the other inmates of the men's mental ward the way to shake off their medicated lethargy and their servitude to the monstrous Big Nurse Ratched, though he is ultimately sacrificed for the cause. In a stage adaptation, we lose a great deal of the complexity and range of the novel and it is up to the actors and the director to provide for the audience the passion, intensity and seditious, nose-thumbing humor necessary for this piece to work.

In this production, however, the Theater Guild of Webster Groves has missed the mark. The actors are all doing their best, and some of them, notably Stephanie Shaw, Thom Grunenfelder, and Tom Kavanaugh have some very nice, very genuine moments. Everyone else on the stage seemed to at least know their lines and where they were supposed to be. Which is certainly a plus. But director Ginny Austerman has not helped her actors at all. She has not worked to move the story at a good pace, to turn her actor's weaknesses to advantages, or to present a cohesive attitude towards the material. All things which a successful director must do. This requires more than opening the building and rudimentary traffic direction on the stage.

This story has to be driven by the pitched battle between McMurphy and Nurse Ratched to determine who is going to be the 'Head Bull-Goose Loony' of the ward. Unfortunately, the feeling of high-stakes, of literal life and intellectual death, in this conflict, never materialized. This Nurse Ratched was never the evil insidious presence the situation calls for and Matt Holtmann's McMurphy was certainly obnoxious and annoying, sort of like any number of South City hoosiers with one too many beers in them. But he never approached either the hair-trigger unpredictability or the underlying promise of savage violence this character needs to achieve heroic status at the end of the play.

The uncredited set design was well done, lending a bleak, depressing, institutional look to the production. The washed out green of the walls and the wire mesh over the windows were particularly good touches. Costumes were adequate, although perhaps a bit too crisp and white for long-term patients to be wearing.

One Flew Over The Cuckoo's Nest will continue through September 19 at the Theater Guild of Webster Groves 517 Theater Lane. Call 962-0876 for more information.

·ONE FLEW OVER THE CUCKOO'S NEST

Barbican Theatre, London EC2

Opened 27 July, 2000

In the final minutes of the film Being John Malkovich, "Malkovich" reveals to friend Charlie Sheen how a group of them might live for ever: "You, me... Gary Sinise, maybe." If the reception given to his stage performance in One Flew Over The Cuckoo's Nest is anything to go by, Malkovich's sometime Steppenwolf associate Sinise has earned his place among those immortals. The Chicago company's production not only brought the opening-night audience at the Barbican to their feet, but more tellingly elicited loud gasps during the performance – not through any bravura or pyrotechnics, but simply because we had become so immersed in the narrative that some of its twists drew genuine shock and dismay.

Dale Wasserman's 1965 stage adaptation of Ken Kesey's novel about a liberating new presence on a mental ward is different in many ways from Milos Forman's subsequent film version. Wasserman and director Terry Kinney retain some of the point-of-view narration of Chief Bromden, the huge schizophrenic Indian persuaded to speak after many years of silence by the simple, playful kindness of newcomer McMurphy; when Tim Sampson delivers these bridging passages, he is isolated in a spotlight as slide projections move across the darkened walls to suggest the vast, infernal machines of the Chief's imaginings. It also becomes apparent that Randle P. McMurphy and Jack Nicholson are not one and the same: Sinise, in his leather jacket and lumberjack shirt, characterises McMurphy as an exceptionally shrewd redneck, naturally exuberant and only given to disruption or misrule when overly restrictive rules are forced upon him in the first place. In this case, the agent of oppression is Nurse Ratched, whose cold, "for your own good" belittlement of patients and other staff alike is played by Amy Morton with the kind of measured, dispassionate delivery at which Lindsay Crouse so excels; she suggests stronger feelings screwed tightly down, and eventually, under McMurphy's cheery provocation, these geyser to the surface.

Robert Brill's set, with its huge, curving white walls and lintels, suggests a kind of psychiatric Odeon. Kinney's sure directorial touch takes an apparently straight naturalistic line in terms of performance, but does not neglect deeper symbolism; he uses passages of Hendrix between scenes, to suggest at once the seemingly chaotic uproar which McMurphy brings and the pioneering promise of freedom which he embodies. The other patients on the ward are efficiently and often winningly characterised. (I was particularly taken with Danton Stone as Martini, prone to hallucination and smilingly dealing cards and passing basketballs to people who aren't there.) The feelgood which Kinney's production brings is not of the vapid, sentimental kind; it is a story straightforwardly told but which conveys the deeper affirmation that "the machine" can still be overcome by a good, wild yawp.

Written for the Financial Times.

·Review: 'One Flew Over the Cuckoo's Nest'

April 30, 2006

By Kathy Janich

Almost everyone knows One Flew Over the Cuckoo's Nest from either the 1962 novel or the 1975 film starring a wild-eyed Jack Nicholson. So the main question surrounding a stage production today is why do it at all. What does a story that is clearly rooted in the rebellion of a different era have to say to a contemporary audience — and to the audience of Atlanta's Dad's Garage Theatre, which is largely 35 and under. The answer: more than you might think.

The story still speaks to the disenfranchised, the unpopular kid, anyone ever on the wrong side of a bullying boss, teacher, or parent. In today's terms, it speaks to those who see a lobotomized America in the hands of a trigger-happy president. (Ditto Britons castrated by the policies of Tony Blair: A London Cuckoo's Nest featuring Christian Slater as firebrand Randle P. McMurphy runs in the West End until June.)

Yet if Cuckoo's Nest needs a little TLC to maintain its antiestablishment message, director Kate Warner and her team provide it. They've worked hard to make their storytelling primal, unpredictable, and unsettling. The cast of 12 — the original Broadway run, starring Kirk Douglas, had 23; the 2001 revival had 20 — fills the 50-seat black box with its manic wanderings, therapy sessions, and card and mind games.

The audience is tucked just inside the mental hospital's day room, up close and personal as McMurphy and the other patients fight for a say in their daily lives. They — and we — are surrounded by stark white walls, faux dropped ceilings, and bright institutional lights (the "environment design" is by Jamie Warde). The floor is a scuffed black-and-white checkerboard, the furniture is plastic and utilitarian, and the only window is barred and locked. We sit single file, our backs to the walls. When Chief Bromden, the hallucinatory hero-narrator, shuffles by with his broom, its bristles almost tickle our toes. Can anyone say "claustrophobic"?

Thomas Piper plays McMurphy as a bigger-than-life bird, a balls-to-the-wall, pedal-to-the-metal kind of guy who bursts into the action with such vigor he shifts the atmospheric pressure. He's tall, well-built, handsome, reckless — sometimes too reckless for the small space — but you can't argue with the telling contrast between his boisterousness and his sensitivity as he champions the baby steps of Billy Bibbit (Tim Stoltenberg) toward manhood or coaxes Bromden (Mike Schatz) out of his deaf-mute shell.

The other actors also give specific performances, at once endearing and annoying: Steven L. Emanuelson uses a nasal voice, twitching fingertips, and squinting eyes to betray the rampant insecurities of Harding, the nervous-Nellie brainiac emasculated by his wife's buoyant bra size. Stoltenberg, as a stuttering mama's boy, combines childlike fears and naiveté with the poignant desire to be just one of the guys. As Martini, Chris Blair is a scared little rabbit and frenetic co-conspirator, guffawing oddly, his head swiveling as if to detect danger. Schatz, though hard to hear at first, has us near tears in the final scenes.

And then there's Tiffany Morgan's Nurse Ratched, played more as a brittle control freak than novelist Ken Kesey's truly evil manipulator. She's intimidating if you're a mental patient or hospital colleague, I guess, but she never really shows us why.

In her program notes, director Warner writes of her longtime attachment to Cuckoo's Nest and its "still resonant idea that outsiders can show us more truths about ourselves." Is that crazy? Not so much.

One Flew Over the Cuckoo's Nest runs April 14-May 6 at Dad's Garage Theatre Company, 280 Elizabeth St. N.E., Atlanta. Tickets: (404) 523-3141. Website: www.dadsgarage.com.

----Will

问题3：帮忙找一下飞越疯人院的英文版观后感!课堂写作的那种,不要摘抄的那种.自己写的最好!呵呵,[数学科目]

挑你会的拣出来.

问题4：飞越疯人院观后感Are you crazy? Are you crazy? Of course not . Everyone may deny it immediately. However , in the opposite, these people in the film volunteerd to pretend mad to get into the madhouse. What are they want to do If th[英语科目]

改了一下,你自己对照吧

Are you crazy?Of course not .Everyone may deny it immediately.However ,just the opposite,these people in the film volunteered to pretend to be mad to get into the madhouse.

What are their intentions when normal people are willing to enter the madhouse?Is it a place to relax?Maybe.Actually,all of them are attempting to escape from the real society.In other words,it is the cruel reality that forces them to choose this lifestyle.

As we all know,life isn’t always smooth.More often than not,it is full of thorns and pain.Like them,a crowd of so-called madmen,select the life in the madhouse under the control of Miss Richard,rather than the freedom outside.This urges them to find something new that pleases them.They get out to go fishing,have a party,this does make them happy.

The major,Mr Mcmurphy,tries every ways to get into the madhouse so that he can escape hard work.But soon he founds that it is uncomfortable and not what he has imagined.He fights with Miss Richard for the rights to watch the baseball game,even do anything out of the rules there.He is tired of the serious rules ,an idea begins to emerge in his mind.What he mostly wants is the freedom.So he decides to get out of the madhouse.

Also ,he still wants to help other people there.People there are kind,friendly,something of him.In order to save Billy ,he allows his girl friend to make love with him.Also to help Billy,he gives up the chance of going out.Finally,things don't go as we would imagine,Billy died and MC lost his consciousness due to the cruel method of the nurses there.What a tragedy it is.But this makes Chief release himself ,in our eyes he is a deaf-mute,who tolerates everything for a long time.It is him who can move the lavabo and run away.He realizes MC is his good friend ,and what his good friend longs for is freedom.So he killed MC with a pillow.Only this way can MC relieve himself from the control.

问题5：怎样从心理学角度写《飞跃疯人院》观后感四五百字即可,最好是根据中国政法大学出版社的版本,

《飞跃疯人院》之观后感

好莱坞每年在以吨计的生产垃圾时,也时常为全世界人民奉献出一件件精品,就这点上,我并不认为他们逊色于欧洲电影,他们实在不必向那些贡高自傲的欧洲同行和中国（我只熟悉中国）那些品位出奇的小资们低头哈摇,一个劲地承认自己没文化底蕴.（这也是我自己说的,估计美国佬自以为是得很）

奥斯卡虽然越来越俗气,最近连《指环王》、《角斗士》这样的垃圾电影都得了许多奖品,但是我们必须看到,它仍然为世人提供了一系列的好作品,近的如《美国丽人》,远的如《欲望号街车》,这些电影在对人性和现实的批判上不遗余力,使我们领略到了好莱坞并不仅仅只是世界上最大的虚拟兵火库和美女帅哥梦工厂而已.

现在说说《飞》片.在电影结束前半个小时,我认为这片子有点意思,但是还说不上非常有意思.其实我指的是一部艺术作品如果仅仅是让你觉得比较有意思,也就是说在技巧,表现手法上让你感到有点奥妙,那是不够的.

拿正热和着的世界杯打个比方,我是巴迷,但是并不妨碍我觉得英格兰队踢得还是很有水平的.也就是说我认为英队技战术上让我觉得很有意思,有嚼头.但是我之所以成为一个忠诚的巴迷,是因为我爱这只球队,而我之所以爱巴西队,是因为它曾经在精神上给过我非常强烈的震撼,使我无法在感情上背叛它.

说得罗嗦了,把话拉回来,如果《飞跃疯人院》仅仅是讲了一个不但不是疯子而且很聪明的家伙,误打误撞般搞飞机搞进了疯人院,而后领着一帮疯子和疯人院的女护士大唱对台戏的故事吧,我会认为这是部很有象征意味的电影,明摆着的,导演想告诉你,面对强权和高压统治,我们该做些什么.

就像片子里的主人公,他其实是个冲动 粗鲁但颇有小聪明的家伙.他搬不动浴室里的大理石水池去砸铁窗,却告诉他的病友们起码他试过.他还努力地争取选票,好让自己或者还加上众人可以收看电视转播的棒球赛.他抢开大客车把病友送上船出海去钓鱼,甚至最后还让他的女友和那个口吃的病友作爱.

其实在我感到有趣的那大部分影片中,我没觉得那些病秧子们过的日子有什么不好,护士长虽然不算慈眉善目,但是很有礼貌地对待他们.他们还能赌博,打篮球.

一言以蔽之,一切正处在一个规定的轨道中,没有出轨就没有任何问题,反正那些病友们从未想过要离开疯人院,他们甚至是自愿留在这的.

直到主人公的到来,才使一切起了翻天覆地的变化.这小子是个天生的捣蛋鬼,一来这就要冒犯护士长的权威.

直到他真的搞了一次小革命（他们打架了）,他被电击后,他才意识到疯人院里甚至比他以前呆的监狱更可怕,这可不是搞着玩的,于是他就开始盘算着逃出去.

这时我们也领略到了冷冰冰的护士长身上所代表的强权的威力.她的命令必须得到服从与贯彻,一切必须纳入轨道,不准有任何偏差,当然这一切都是为了病人好!

电影的高潮是最后那段逃跑的狂欢以及狂欢后的情景.主人公本可以逃走,但是当他受到恐吓,说他走了病友就要遭殃时,他留下了.

在这里不得不提醒诸位注意一下两位病友.其实每位病友都代表了某种病态,都代表了某种典型性格,但是我想说这两位,是最后这出闹剧转变为悲剧的最关键人物.一位是那个结巴,他害怕护士长将他的陋行告诉给他妈妈听,竟然自杀了.这充分暴露了护士长冷漠森然的那一面,也直接导致了主人公冲动地上前紧扼护士长的脖子.而后,这出悲剧就正式开始了,主人公被人送到病房时,已经变得完全地痴呆了,一个飞扬跳脱的造反者,一个不疯的家伙最后因为挑战权威就这样被弄疯了.之后,另一个关键人物,那位高大的装聋作哑好多年的酋长又出现了,他扼死了他唯一的好朋友——主人公,原因只是他要沿着主人公所指明的那条路逃离疯人院,而“没有你,我不愿意走”,他这样说道.

主人公木然地望着酋长,而后被酋长用枕头闷死.他手舞足蹈了一番,最后就再也不动弹了.

让我们记住这个神秘地负载着象征意义的酋长先生.他身材高大,他能搬得动大理石水池,他却足够世故,在疯人院里不声不响地装聋做哑许多年,唯一有力量开辟道路的是他,而他却没有第一个这样做.

这最后二十多分钟,将整部电影推向了高潮.悲剧的面目终于显露在观众面前.到底在这个疯人院里发生了什么,使得一个活生生的人最终变成了一个疯子,而到底又是什么使那位最后沿着主人公开辟的道路逃走的人将病蔫蔫的主人公活活的闷死在床上了呢?还有,那些疯子,他们虚弱,脆弱,需要帮助,他们该不该获得帮助呢?

在最后关头,导演给了我们一次大清算,一次完整的总结,为我们结束一些疑问,更为我们提出了无数需要深深思考的问题.这些新的疑问,是建立在观众强烈的心理共鸣上的.当酋长将枕头伸向主人公时,我不认为有任何人能在此时保持冷静,这是多么荒谬却又多么合理的一个场景啊,一个朋友、战友,将凶器伸向了倒下了的先行者.

这即是前文中我所提到的艺术精品在情感上所能给受众带来巨大的灵魂震撼.

这并不是一个简单的喜剧,导演在向我们传达什么哲理呢?每个人有每个人的看法,我不想再多说下去了,我只希望大家也看一看,然后和我一样向好莱坞导演致敬.

最后说一句吧,这部片子应该拍得挺早的,那时候还是冷战时期吧?!我个人认为,这片子有点影射苏联阵营国家政治生活的意思.