《嫁給歹徒》是一部融合了喜劇、愛(ài)情和犯罪元素的電影。故事講述了安吉拉德馬科（AngeladeMarco）與高級(jí)黑手黨成員弗蘭克德馬科（FrankdeMarco）的不幸婚姻。當(dāng)弗蘭克被殺后，安吉拉抓住機(jī)會(huì)徹底擺脫黑手黨的世界，開(kāi)始新的生活。然而，弗蘭克的老板托尼魯索（TonyRusso）開(kāi)始追求對(duì)他毫無(wú)反應(yīng)的安吉拉。聯(lián)邦調(diào)查局開(kāi)始對(duì)她進(jìn)行監(jiān)視，認(rèn)為她是托尼的新情婦。FBI特工邁克唐尼（MikeDowney）化身為安吉拉的鄰居，但很快發(fā)現(xiàn)自己也對(duì)安吉拉產(chǎn)生了吸引。這部電影以幽默風(fēng)格展現(xiàn)了一個(gè)復(fù)雜的故事情節(jié)。安吉拉的角色經(jīng)歷了從被束縛到追求自由的轉(zhuǎn)變，她勇敢地拋棄了黑幫生活，追求自己的幸福。而托尼魯索則展示了黑幫老板的權(quán)勢(shì)和欲望，他對(duì)安吉拉的追求讓整個(gè)故事更加撲朔迷離。同時(shí)，F(xiàn)BI特工邁克唐尼的角色也為故事增添了一絲浪漫的色彩，他對(duì)安吉拉的吸引力使得故事更加復(fù)雜有趣?！都藿o歹徒》通過(guò)將喜劇、愛(ài)情和犯罪元素融合在一起，創(chuàng)造了一個(gè)獨(dú)特的故事世界。觀(guān)眾可以在笑聲中感受到主人公的堅(jiān)強(qiáng)和勇氣，同時(shí)也會(huì)被故事中的愛(ài)情線(xiàn)索所吸引。這部電影的劇情緊湊，情節(jié)跌宕起伏，給觀(guān)眾帶來(lái)了一場(chǎng)令人難以忘懷的電影體驗(yàn)?？偟膩?lái)說(shuō)，《嫁給歹徒》是一部充滿(mǎn)喜劇、愛(ài)情和犯罪元素的電影，通過(guò)幽默的方式展現(xiàn)了主人公的成長(zhǎng)與勇氣。觀(guān)眾可以在笑聲中感受到故事的復(fù)雜和迷人之處。這部電影值得一看，會(huì)給觀(guān)眾帶來(lái)一段愉快的電影時(shí)光。

Before cinching his immortal cachet with hefty THE SILENCE OF THE LAMB (1991), and PHILADELPHIA (1993), Jonathan Demme has made a name as a capable humorist, MARRIED TO THE MOB is a knowingly gleesome parody of the gangster picture that is perceived as the shorthand of American cinema’s high-water mark, post-GODFATHER (1972) and its sequel.

When rising Mafioso Frank de Marco (a prime-time dreamboat Alec Baldwin) is iced during a romantic assignation, and audience is granted in the know of who is the murderer, his wife Angela (Pfeiffer), who has already been guilt-ridden and careworn toward her husband’s life-on-the-line business and its ill-gotten lucres, instantly ups sticks in a tenement apartment with her young son and tries to start anew.

But Angela is persistently coveted by Frank’s boss Tony “The Tiger” Russo (Stockwell), on top of that he has a ballbuster wife in the person of Connie (Ruehl), while Angela clumsily parries off Tony, she sets her cap at a neighbor plumber in the apartment building, Mike Downey (Modine), unbeknownst to her, who is indeed an undercover FBI agent, stakes her out with the intention to nail Tony for his seedy goings-on, but who can say no to a creature like Angela?

Spiked with haphazard, slo-mo shoot-‘em-up set pieces where no blood is allowed to spurt onto the screen, MARRIED TO THE MOB is at its most charming when comically toys with Angela’s plight and lets Pfeiffer shine with her unrivaled gorgeousness viscerally tinted with angst and yearning, fully elicits her seriocomic bent that no ’80s-bad hairdo can blot out, and in the result, Modine is mostly sidelined as an innocuous doll, his Mike might never be emotionally mature enough for Angela a posteriori, yet, on screen, they are merely adorable together.

Among its secondary players, a pistol-wielding Ruehl has a whale of a time attempting to castrate her two-timed hubby, also gets to deliver sideswipes like “that bitch thinks her shit doesn’t smell”, not at all a positive example of distaff solidarity, but if it plays for laughter, it gets by.

However, the real humdinger of the movie is doubtlessly, the seasoned Stockwell, awarded with his hitherto only Oscar nomination, on paper, it looks like a citation for his lengthy career (he has been acting since 1945!), but Stockwell certainly keeps audience spellbound with Tony’s “cool as a cucumber” suaveness, “quick on the draw” panache, his wandering gestures and pussified reactions, one simply feels delightful that, for once, a high-wire comedic performance is being recognized by the Academy whose go-to options are drama elitists. Playing fire with danger, and then putting on a straight face when one’s laughter line start to quiver, that’s none-so-secret recipe of Demme’s mob comedy.

referential entries: Demme’s SOMETHING WILD (1986, 5.2/10); émile Gaudreault’s MAMBO ITALIANO (2003, 5.4/10).