落难见真情1987

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

听说《人在囧途》有参考（或抄袭）这个电影。看了一下，确实是有相似的结构框架：互相嫌弃又产生友谊的伙伴情+倒霉的回家旅行，但这不至于抄袭（具体要看懂知识产权的律师怎么判）。

《人在囧途》的笑点来源于中国在转型过程中产生的社会现象。它的成功之处在于把穷富对比，城乡对比，放在这样一个叙事框架里面，从而把改革开放的贫富分化（两个主角），以及从城到乡的风土人情（囧途），像画卷一样徐徐展开。从而对这个时代有一个纪录，也和生活在转型时代的中国观众（尤其是生活在小城市、小乡镇，对发展不均匀更有直观感受的观众）产生共鸣。王宝强的搞笑，来源于他的土、无知、热情和质朴，这是浑然天成的中国特色，而落难见真情的胖子是烦人+坏习惯+真诚，完全是另一种感觉。这种类型的电影，笑点非常依靠一些性格上、身体上的特征，互相是难以复制的。《落难见真情》两个主角的差异更像是他们个人的差异。而《人在囧途》中两个主角的差异，更来自于城市精英和乡镇农名工之间的性格、观念、肢体习惯的差异。两个主角是两种社会背景的典型代表。《人在囧途》完全把两个不同阶级各自的感觉结构并置在一个被迫一起倒霉的剧情下，迸发出笑点和冲突。《人在囧途》这电影这么搞笑，多是拜中国的国情所赐，拜发展太快太不均匀产生的城乡差异、贫富差异所赐。

从社会意义上讲，通过喜剧和兄弟情，通过两个主角的和解，电影试图缓解尖锐的贫富矛盾。可以说在国内这样的情况下，借助了《落难见真情》的框架去改编，把喜剧冲突放大了，笑点也更密集了，甚至找到了一个更好的切入点去描述转型中的中国。

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).