由Stanislav Barabas（1924-1994）導演的《灰鴿子之歌》（Piesen o sivom holubovi，1960年）于1961年5月首次公映，開了用意識形態(tài)上無可辯駁的主題（例如，斯洛伐克起義）來述說故事的先河。以往故事往往講的生動，但拍攝手法的創(chuàng)造性仍待提高?！痘银澴又琛忿饤壛薖alo Bielik（第一代電影人中最有創(chuàng)造性的導演）所鐘愛的敘事題材。Barabas通常用年輕人來當英雄，然后把更多的注意力放在孩子們的恐懼、游戲和歡樂上，而不是對觀眾進行再教育。因為即使在戰(zhàn)爭歲月，孩子們的恐懼、游戲和歡樂也未曾消失過。評論家們關(guān)注《灰鴿子之歌》（和同年拍攝完成的由Vsude zijílidé和dir. Jirí Hanibal以及Stepán Skalsky創(chuàng)造的捷克電影《People Live Here Too》共獲1961...

　　フウとスズは、ふたりで旅をしている女の子。目的は、子豚のプープーの墓參りだ。途中、ふたりはスズの赤ちゃんを父親の木嶋という男に見せに立ち寄ることになる。ところが、そのことを知った木嶋はビックリ。スズとの間に出來た子は、2年前に盲目の殺し屋?ジョージに始末させた筈だったからだ。焦った木嶋は、ジョージから拳銃を奪うと自らの手で赤ちゃんを始末しようと準備する。一方、そんなこととは知らないフウとスズは、プロゴルファーのオープンカーを盜んだり、赤ちゃんを奪おうとす

難得空閑的上帝下凡找個老實巴交的代言人來四處宣傳“上帝存在”這一概念，但扭轉(zhuǎn)平民心中不解疑惑，還得顯靈法庭來為自己辯解所謂的“存在”

　　In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now.
　　But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film).
　　In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack.
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