由真實(shí)事件改編，影片講述了70-90年代這20年中西西里的黑幫發(fā)展史，電影以黑色喜劇的口吻嘲諷著黑幫大佬們，并凸顯反黑英雄們的光輝事跡。全片的主線以阿圖羅，一個(gè)在巴勒莫長大的男孩，要贏得心愛女孩弗洛拉的芳心而展開。
　　看海報(bào)便知，影片雖然講述的是黑手黨，但風(fēng)格卻是無比的清新可愛。少年的成長與黑幫的演變同時(shí)進(jìn)行，阿圖羅的生活深受黑手黨和時(shí)局的變化所影響，但通過孩子的雙眼，一切都變得饒有趣味而又不乏深思。
　　影片曾獲大衛(wèi)獎(jiǎng)最佳新人導(dǎo)演獎(jiǎng)，以及歐洲電影獎(jiǎng)最佳喜劇片提名。

　　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.
　　imdb comment

　　故事發(fā)生在1977年的法國，羅伯特（法布萊斯·魯奇尼 Fabrice Luchini 飾）是一位作風(fēng)十分獨(dú)斷專行的工廠老板，他不僅對手下的工人們十分嚴(yán)格苛刻，在家庭里亦是一位不折不扣的“大丈夫”。長久以來的壓迫令工人們憤怒的呼號聲到達(dá)了頂峰，他們舉行了規(guī)模浩大的罷工示威，他們要更少的工作和更多的薪水，還逼迫羅伯特下臺。
　　就在這個(gè)節(jié)骨眼上，羅伯特那平日里默默無聞的妻子蘇珊娜（凱瑟琳·德納芙 Catherine Deneuve 飾）站了出來，她不僅利用自己靈活的社交手腕安撫了工人們的憤怒，甚至讓他們乖乖的回到了各自的工作崗位之上。在蘇珊娜的領(lǐng)導(dǎo)之下，工廠恢復(fù)了生產(chǎn)，工人們的工作條件得到了改善，然而，對于這一切，此時(shí)正在外地療養(yǎng)的羅伯特一無所知。

　　Malvís (Alfredo Landa) is sick of working like crazy for nothing. He'd rather become a bandit, that's much better, he's gonna be the fearful Fendetestas! He'll spread panic in the woods of his region. But there's a little problem: there aren't much people living in his region, everyone knows everyone and everyone is so poor, so is gonna be difficult that someone takes Malvís/Fendetestas too seriously.
　　This is a magic history, so funny, and full of situations that will make you laugh. It's also full of characters that belong to the Spanish idiosyncrasy: the strict priest, the Guardia Civil, the old devout women, the village idiot... there's even a lost soul wandering around the woods.
　　The great Alfredo Landa heads a cast that gathered together the best two generations of Spanish scene: from Fernando Rey to Encarna Paso, from Manuel Alexandre to María Isbert... A cast like that would be just unthinkable nowadays. "El Bosque Animado" was the first movie of José Luis Cuerda's trilogy of rural comedies (after this one he made the surreal "Amanece Que No Es Poco", and "Así En El Cielo Como En La Tierra". Those are movies so personal that stress the Spanish culture. The young directors should take note of films like "El Bosque Animado", instead of trying to be the new "enfant terrible" and imitating US worst cinema.

　　阿蘭（丹尼·伯恩 Dany Boon 飾）和瓦萊麗（瓦萊麗·博納東 Valérie Bonneton 飾）結(jié)婚多年，共同生養(yǎng)了一個(gè)美麗乖巧的女兒，然而，夫妻兩人同樣火爆的個(gè)性令這段并不怎么和諧的婚姻最后以離婚告終，他們彼此都發(fā)誓這輩子也不愿意再見到對方。
　　一晃眼，女兒長大成人，即將步入婚禮的殿堂，成為別人的妻子。在如此重要的時(shí)刻，女兒希望能夠得到父親和母親的祝福，就這樣，為了參加女兒的婚禮，阿蘭的瓦萊麗踏上了旅途。讓兩人沒有想到的是，他們竟然搭上了同一班飛機(jī)，意外的重逢使那些不愉快的舊日回憶一一閃現(xiàn)，兩人相互刁難，爭鋒相對。一場意外令瓦萊麗錯(cuò)過了公車，于是，她決定和阿蘭拼車，共同抵達(dá)目的地。