龙蛇小霸王 HD

分类：喜剧片 地区：英国年份：1976

主演：斯克特·拜奥,弗劳瑞·杜格FlorrieDugger,朱迪·福斯特

导演：艾伦·帕克

更新：2023-12-10 10:01

简介：Bug Symalone想要打倒纽约黑帮，他与Fat Sa..Bug Symalone想要打倒纽约黑帮，他与Fat Sam和Dandy Dan一起发号施令。这部电影是20世纪70年代的经典音乐剧。这部电影里的角色都是由孩子扮演的。他们穿上西装和华丽的舞衣，用奶油枪战斗。这很容易让人发笑，也很难让人不佩服制作人员的头脑。这部电影在第49届奥斯卡奖上被提名为原创或改编配乐，并在第34届金球奖上被提名为最佳电影（音乐/喜剧）、原创歌曲“ Bugsy Malone ”和原创配乐。{if:"

Ushering in UK televisual and advertising practitioner Alan Parker ’s foray into the form of feature film, BUGSY MALONE is one of a kind, a comical pastiche amalgamating American Prohibition era gangster turf war with vintage musical numbers, and idiosyncratically, all the players on screen are prepubescent teens, an ingenious wrinkle hasn’t been imitated ever since (directing children is never a cakewalk, kudos to Parker for the resolution).

NYC speakeasy boss Fat Sam (Cassisi, a would-be luvvie in the making has he not retired from acting in 1982), is bedeviled by the surging attack of “splurge guns”, a new weapon devised by his nemesis Dandy Dan (Lev) to eliminate his cohorts and take over his business. He turns to our hero, the street-smart boxer scout Bugsy Malone (Baio) for help, who is struck by coup de foudre with a budding singer Blousey Brown (Dugger) in the speakeasy, who is aspiring for a Hollywood career.

Although the story-line digresses and slacks off erratically, BUGSY MALONE’s main allure comes from the novel discrepancy and amusement spawned by putting grown-up material into the mouth of a bevy of underage amateurs (save Jodie Foster’s minxy moll), and by whom Paul Williams’ retro adult-voiced strains are lip-synced, the titular theme song is a standout, and a barnstorming Foster steals the limelight as easy as falling off a log in her number “MY NAME IS TALLULAH”.

As a family-friendly novelty, machine guns are substituted with toy guns, blood with cream, automobile with pedal vehicles, and everything leads to a havoc-wreaking custard pie throwing climax to top off house-playing hilarity. No denying it is lots of fun to watch such a finely manufactured gallimaufry, yet the movie only intrigues us but never evolves into compelling, partially thanks to a disgruntled Florrie Dugger (who wisely stays away from acting afterwards) hasn’t got a scintilla of chemistry with a more proactive Baio, only prompts any spectator to wonder why doesn’t Parker cast Foster in the leading role instead, who struts and slinks way heads and shoulders above everyone else with a palatable air of insouciance and va-va-voom, such a pity.

referential entries: Parker’s SHOOT THE MOON (1982, 5.4/10), MIDNIGHT EXPRESS (1978, 7.9/10) "<>"" && "

Ushering in UK televisual and advertising practitioner Alan Parker ’s foray into the form of feature film, BUGSY MALONE is one of a kind, a comical pastiche amalgamating American Prohibition era gangster turf war with vintage musical numbers, and idiosyncratically, all the players on screen are prepubescent teens, an ingenious wrinkle hasn’t been imitated ever since (directing children is never a cakewalk, kudos to Parker for the resolution).

NYC speakeasy boss Fat Sam (Cassisi, a would-be luvvie in the making has he not retired from acting in 1982), is bedeviled by the surging attack of “splurge guns”, a new weapon devised by his nemesis Dandy Dan (Lev) to eliminate his cohorts and take over his business. He turns to our hero, the street-smart boxer scout Bugsy Malone (Baio) for help, who is struck by coup de foudre with a budding singer Blousey Brown (Dugger) in the speakeasy, who is aspiring for a Hollywood career.

Although the story-line digresses and slacks off erratically, BUGSY MALONE’s main allure comes from the novel discrepancy and amusement spawned by putting grown-up material into the mouth of a bevy of underage amateurs (save Jodie Foster’s minxy moll), and by whom Paul Williams’ retro adult-voiced strains are lip-synced, the titular theme song is a standout, and a barnstorming Foster steals the limelight as easy as falling off a log in her number “MY NAME IS TALLULAH”.

As a family-friendly novelty, machine guns are substituted with toy guns, blood with cream, automobile with pedal vehicles, and everything leads to a havoc-wreaking custard pie throwing climax to top off house-playing hilarity. No denying it is lots of fun to watch such a finely manufactured gallimaufry, yet the movie only intrigues us but never evolves into compelling, partially thanks to a disgruntled Florrie Dugger (who wisely stays away from acting afterwards) hasn’t got a scintilla of chemistry with a more proactive Baio, only prompts any spectator to wonder why doesn’t Parker cast Foster in the leading role instead, who struts and slinks way heads and shoulders above everyone else with a palatable air of insouciance and va-va-voom, such a pity.

referential entries: Parker’s SHOOT THE MOON (1982, 5.4/10), MIDNIGHT EXPRESS (1978, 7.9/10) "<>"暂时没有网友评论该影片"}

Ushering in UK televisual and advertising practitioner Alan Parker ’s foray into the form of feature film, BUGSY MALONE is one of a kind, a comical pastiche amalgamating American Prohibition era gangster turf war with vintage musical numbers, and idiosyncratically, all the players on screen are prepubescent teens, an ingenious wrinkle hasn’t been imitated ever since (directing children is never a cakewalk, kudos to Parker for the resolution).

NYC speakeasy boss Fat Sam (Cassisi, a would-be luvvie in the making has he not retired from acting in 1982), is bedeviled by the surging attack of “splurge guns”, a new weapon devised by his nemesis Dandy Dan (Lev) to eliminate his cohorts and take over his business. He turns to our hero, the street-smart boxer scout Bugsy Malone (Baio) for help, who is struck by coup de foudre with a budding singer Blousey Brown (Dugger) in the speakeasy, who is aspiring for a Hollywood career.

Although the story-line digresses and slacks off erratically, BUGSY MALONE’s main allure comes from the novel discrepancy and amusement spawned by putting grown-up material into the mouth of a bevy of underage amateurs (save Jodie Foster’s minxy moll), and by whom Paul Williams’ retro adult-voiced strains are lip-synced, the titular theme song is a standout, and a barnstorming Foster steals the limelight as easy as falling off a log in her number “MY NAME IS TALLULAH”.

As a family-friendly novelty, machine guns are substituted with toy guns, blood with cream, automobile with pedal vehicles, and everything leads to a havoc-wreaking custard pie throwing climax to top off house-playing hilarity. No denying it is lots of fun to watch such a finely manufactured gallimaufry, yet the movie only intrigues us but never evolves into compelling, partially thanks to a disgruntled Florrie Dugger (who wisely stays away from acting afterwards) hasn’t got a scintilla of chemistry with a more proactive Baio, only prompts any spectator to wonder why doesn’t Parker cast Foster in the leading role instead, who struts and slinks way heads and shoulders above everyone else with a palatable air of insouciance and va-va-voom, such a pity.

referential entries: Parker’s SHOOT THE MOON (1982, 5.4/10), MIDNIGHT EXPRESS (1978, 7.9/10) {end if}详情