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Hi, Mom!


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Product Details

  • Actors: Robert De Niro, Allen Garfield, Lara Parker, Charles Durning, Abraham Goren
  • Directors: Brian De Palma
  • Writers: Brian De Palma, Charles Hirsch
  • Producers: Charles Hirsch
  • Format: Multiple Formats, Black & White, Closed-captioned, Color, Full Screen, Subtitled, Widescreen, NTSC
  • Language: English
  • Subtitles: English, French, Spanish
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.33:1
  • Number of discs: 1
  • Rated: R (Restricted)
  • Studio: MGM (Video & DVD)
  • DVD Release Date: December 7, 2004
  • Run Time: 87 minutes
  • Average Customer Review: 3.6 out of 5 stars  See all reviews (17 customer reviews)
  • ASIN: B00062IVJ4
  • Amazon Best Sellers Rank: #169,523 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "Hi, Mom!" on IMDb

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Editorial Reviews

"Alive, amusing, interesting and inventive" (Newsweek), Hi, Mom! established Brian DePalma (Carrie) as a formidable directorial talent and premier social satirist. Bursting withincisive parodies of home movies, TV documentaries and '60s off-Broadway "encounter theater" groups, and starring Robert De Niro in one of his earliest roles, Hi, Mom! is "brilliant and engaging" (Variety)! De Niro stars as Jon Rubin, a charmingly directionless Vietnam vet and would-be "erotic filmmaker." Convincing a film producer to finance his "peep art," Rubin sets up his camera to film the nocturnal activities of his unsuspecting neighbors. In short order, he goes from voyeur to participantand mild-mannered milquetoast to full-fledged urban guerrilla!

Customer Reviews

3.6 out of 5 stars

Most Helpful Customer Reviews

10 of 11 people found the following review helpful By Amazon Customer HALL OF FAMEVINE VOICE on December 12, 2003
Format: VHS Tape
I saw both "Greetings" and "Hi, Mom!" back in the early 1970s at a college art theater, which was well before director Brian De Palma and actor Robert De Niro became big names. "Greetings" was De Palma's 1968 anti-war movie and "Hi, Mom!" was sort of intended as a sequel of sorts. In this 1970 film De Niro plays John Rubin, a Vietnam vet who returns from the war to settle in Greenwich Village. His big idea is to film the people in the apartment across the street and to sell Pepping Tom type films (where you even have to look through a the little windows in a little brick front to get the correct experience). Eventually John's obsession with making films gets him involved with a radical "Black Power" group. This results in two unforgettable sequences, the first involving what we would not call a Yuppie audience being subjected to urban guerrilla theater in the play "Be Black, Baby," and the second an act of urban terrorism that gives Jon a chance to say the film's title while smiling into a camera.
De Palma is clearly exploring the idea of breaking the barrier between actors and audience in the act of performance. I can appreciate this idea because every time I see theater in the round I keep watching the audience watching the play instead of just watching the play. Pay attention to De Palma's use of the split screen to explore the dual perspectives and get the audience watching the movie involved more involved in the equation as well. Repeatedly, it all comes down to point of view, meaning the point of view of the camera. This idea is reinforced by Jon, for whom life is not real unless it is on camera, a point most notably made in his sexual encounter with Judy (Jennifer Salt).
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3 of 3 people found the following review helpful By Jenny J.J.I. VINE VOICE on November 27, 2007
Format: DVD
This movie is so crazy. Hi, Mom asks a great deal from the viewer, and offers little in return. It includes frequent tonal shifts, abrupt changes in generic gear. It begins as an urban farce, transforms into slightly meditative romantic comedy, then, by turns, social satire, and domestic comedy. A viewer could be forgiven for feeling slightly whip-lashed by the film's violent conclusion.

Robert De Niro stars (his third De Palma movie) as a Vietnam vet who becomes obsessed with 16mm filmmaking as a way of making social connections and studying his society. He focuses on a Greenwich Village housing development. Politics become enmeshed with sex when De Niro courts Jennifer Salt (later star of De Palma's "Sisters" ) as a means of gaining access to the apartment building, a symbol of establishment and social conformity.

Hi, Mom! proves to be prescient about the uses of media to extend vision into other people's lives and communicate cultural frustration. Although the methods have changed from film to video, the same curiosity and motivation exist. There's also the same potential to deceive public perception; that's the idea behind De Palma's satire of public TV--then called educational television.

De Palma's inventiveness is highlighted in a sequence titled "Be Black Baby," where racial tension, media hypocrisy and revolutionary politics collide. This segment just kill me because it turned out to the sharpest, funniest, most observant, and most disturbing out of the entire film. No movie or TV sketch since has been as funny or powerful about American social hypocrisy. Its details are too good to give away. To see it is to never forget it.
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3 of 3 people found the following review helpful By carlosdarko on September 19, 2004
Format: DVD
I've been looking for this movie forever , I saw it like 5 or 6 years ago on tv and I got completely hooked on it,It was really impresive, it may seem kind of arty nowadays but it has segments witch you'll see later in taxi driver, there is also a very unpleaseant scene which involves some kind of street theatre ..., I definetely recommend this movie to Brian de Palma aficionados and lovers of strong performances.
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2 of 2 people found the following review helpful By R. A. Bean on November 28, 2009
Format: DVD Verified Purchase
OK, so you know, there was a time that Brian DePalma made films that didn't resemble Hitchcock fare. Storywise and style-wise. He was more of an avant-garde/guerrilla style filmmaker that made very daring, audacious films with very powerful statements (well, like his films still do to this day, but with more of that 'Hitchcock' flare). No, this leans more toward the Antonioni/Lelouch/Godard style of filmmaking.
And, so people will know, it was DePalma that discovered Robert DeNiro, NOT Martin Scorcese! DePalma cast a very young, unkown DeNiro in three of his first films, "The Wedding Party", "Greetings", and this one (which is a sequel to "Greetings" in a way). The 1960's were a great era for films! Especially the up-and-coming DePalma...This also features Jennifer Salt (also in DePalma's "The Wedding Party", "Greetings", and "Sisters"), Charles Durning (also in DePalma's "Sisters" and "The Fury"), Rutanya Alda (also in DePalma's "The Fury"), and Gerrit Graham (also in DePalma's "Greetings", "Phantom of the Paradise", and "Home Movies").
This is a very powerful, hard-hitting revolutionary film that deals with some very tough issues of the day that are still relevant today. Things like war, racism, obsession, paranoia, and equality among the Human race...And, yes, voyeurism! DePalma deals with voyeurism in the best possible sense than any other film director in the business. First, he makes us want to watch, then makes us almost afraid to turn away, but also afraid to keep watching, then he makes us feel disgusted for even wanting to watch. Yes, he so effectively exposes the deep sick desire that we as a people share in common: We love to be witnesses to any kind of event; spectators to the entertainment.
Whether it's television, film, and/or live events, we just can't help but watch.
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