落难见真情

一路顺疯 / 落难见真情 / 飞机、火车和汽车 / 旅行冒险记.Planes, Trains & Automobiles.1987.央视国配（李蕴杰班底） 翻译：汤灿 译审：宋宛娇 导演：李蕴杰 配音：张原铭 滕奎兴 郭菲 牟子莉 蔡硕 刘磊 萧国隆 录音：张洋岚 合成：任家为 字幕：杨硕 技术：李茜 制片：李萱 监制：张玲 郭华 电影频道节目中心译制

典型的八十年代喜剧，感觉比《人在囧途》要搞笑。虽然桥段大多很老套，有些桥段有点故作幽默，但依然能带来一种八十年代末特有的温馨与韵味。听说原片接近三个小时，约翰休斯剪了很多片段。

大多数笑梗都比较容易get到，但本片在国内几乎无人知晓。约翰休斯其他几部电影流传度反而更高。可能是《飞火车》里面比较多culture gap和美式幽默，很多观众都get不到。作为一个住在美国几年的人，看到里面一些梗也只能干笑一下。美国人笑点出了名的低，对于亚裔观众可能没有那么好笑（美国观众看到一些很弱智很无厘头的就会开怀大笑）。

编导上没有什么缺点，典型的八十年代风格，freeze frame ending之类的。值得一提的是塞斯麦克法兰经常在Family Guy和泰迪熊上面致敬约翰休斯的电影。

可惜胖子John Candy英年早逝，不然能在喜剧界闯出一片天。

配乐算是约翰休斯电影的一大特色，都挺带感。

类似于美国贺岁片，在冬天看其实挺暖的。

John Hughes’ side-splitting indoctrination of tolerance acutely draws on our congenital sense of schadenfreude, a time-honored leitmotif that has been part of the furniture in comical tropes, which mirrors a dark streak of human nature that everyone should refrain in real life, but whenever facing a fictive potboiler, it is hard not to kick up one's heels!

With respect to the cinematic realm, there are atrocious misfires such as Arthur Hiller-helmed, Neil Simon-penned THE OUT OF TOWNERS (1970), a star-vehicle for Jack Lemmon and Sandy Dennis, thankfully PLANES, TRAINS & AUTOMOBILES weathers the test of time handsomely well, insofar as the two leads both come off summa cum laude. Steve Martin is designated to a more upright role as a typical middle class family man, the advertising executive Neal Page, who is oddly paired with John Candy’sshower curtain ring salesman Del Griffith, a down-to-earth screwball who becomes his scourge in every step of theirvoyage from New York to Chicago during the pre-Thanksgiving peak hours, which is painfully protracted by force majeure (mostly), and sequentially undergoes three different conveyances like the title indicates, all at the expense of Neal’s mounting exasperation, Del’s carefree kookiness and a final reconciliation.

In a pristine“misery-loves-company” fashion, this 92-minutes train-wreck (partially in its literal meaning too) barrels through a chain of comedy-of-errors where hilarity, embarrassment, camaraderie and spats burgeon, safely reaches its finish-line with a compassion-driven bang, time and again, Hughes’ trademark sympathetic gesture can melt even the most callous heart.

Martin’s legendary, high-octane one-minute“F-words”ranting against a car rental agent (McClurg, retorting “You are really fucked!” with plumb catty vengeance) after he finally has had it, can be attributed to not only the high tide of the film per se, but also his lengthy and fruitful career as well; on the opposite of the scale, Candy runs away with his cordial warmth and self-loving righteousness that is diametrically incongruous with Del’s ghastly comportment, and it is downright up to him to bail out Del from being a completely trumped-up caricature as one may senseHughes could be over-enthusiastic in making heavy weather of Del’s polarity between repugnance and unpretentiousness, admittedly, that sense of propriety is always a tricky bastard to grasp for any comedy tastemakers, but in the 80s, who in the Hollywood could give Hughes a run for his money in terms of eliciting unalloyed laughter with family friendly sustenance? Mel Brooks, maybe, that could a head-scratching afterthought.

referential entries: Hughes’ FERRIS BUELLER’S DAY OFF (1986, 7.7/10); Arthur Hiller’s THE OUT OF TOWNERS (1970, 4.4/10).