就去干 就去干

抗日战争时期，刚刚打完胜仗的游击队在返回途中，发现一个腿部受伤的孩子小松（王京春 饰）。小松的父母都被日寇杀害，由于游击队都穿着鬼子的衣服，小松非常敌视。指导员（邱英三 饰）把他带到根据地，安排在郑奶奶(陈立中 饰)家养伤，当他知道指导员是八路军游击队后，坚决要求参军报仇。刚参军时，由于他对部队纪律的严肃性认识不足，在一次战斗中随便开枪打野羊，影响了战斗布署，受到指导员的批评。在党的教育关怀下，小松逐渐成长起来。既使在战斗中发现了杀害自己亲人的日寇黑田，他也顾全大局，强压怒火，不暴露目标。黑田受挫后，血洗根据地，残忍地杀死了郑奶奶，更激起了小松的民族仇恨。在解放岭西镇的战斗中，他机智灵活地完成了引敌入瓮的一系列任务......

故事发生在九十年代的广州，阿喜婆（潘予 饰）的儿子和儿媳因为工作十分繁忙而无法照顾年迈的她，于是，两人决定请一名小时工。阿喜婆独居多年，性格非常的古怪和刻薄，她并不相信那些来到她家的陌生人，在接连气走了两个小时工后，姗妹（白雪云 饰）来了。姗妹出生在穷困的家庭之中，只希望能够通过双手勤勤恳恳的劳动挣一笔小钱，回老家开一间小店。善良单纯的她虽然也遭到了阿喜婆的刁难和苛责，但她并没有怨恨阿喜婆，而是更加尽心尽力的去满足老人的要求。随着时间的推移，阿喜婆渐渐的离不开这个可爱的姑娘了。为了给儿子减轻负担，阿喜婆决定搬去老人院住。

黄尚（黄百鸣 饰）是一个其貌不扬的小小上班族，来到了车水马龙人头攒动的香港，心里满怀希望的他决定要在此干出一番大事业。在香港，黄尚结识了三位各具风情的美女——个性温柔贤良淑德的亚萍（杨宝玲 饰）、风情万种热情奔放的露露（李美凤 饰）和高贵冷艳霸气外露的珍妮（郑文雅 饰） ，每一个人都让黄尚心动不已。一次偶然中，黄尚捡到了一本《发财秘笈》，半信半疑的他按照书中所写待人处事，果然没过多久便升官发财。发达之后的黄尚先是得到了露露的芳心，之后又利用手段逼迫珍妮同自己结婚，一番折腾之后，一场超现实的奇遇却让黄尚开始思考，这样的生活真的是自己想要的吗？

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.