□□□this very late 60'□s□i□reverent,□almost anarch□c low-□u□get film, □□□□□ De Palma defines more of his□□t□ang□, □iven Hi□chcock-like fasc□□□t□on of□voyeurism, a□d attack□□th□□issues □f t□e d□□. The most pr□minent□o□ whi□h, b□th cringe-indu□ing and□□ust p□ain funny□□is when he foc□□es □n the□black-po□e□ movemen□ (a □lack woman□hand□ng out fliers asking white people□&□39;do □ou □no□ □□a□ it□9;□ like□□o be bl□ck'), □hich is s□mething that □□uld only□work for that t□□e and plac□□ not before □□ □□w. (🌾) □ut one of the k□y things to the i□ter□s□ i□ the fi□m is □7 year□ol□ Ro□ert□De Ni□o□(not h□s firs□ or last □il□ with the director), wh□ plays t□□s ch□racter□□ho sit□ in a room □o□□i□g out through his telesco□e□at w□men i□ the□□ rooms, setting up phony □eals, □nd in □h□ end b□sically□throwin□ bomb□. Those who have said that□D□ Niro can□□t act□an□ just □s hims□lf □n every movi□□s□o□l□ □ee□□□i□ □ovie,□i□ only □ut of□□ome mino□□curiosi□y.□A□coup□e o□ times in □□□ film □t'□s □ctually not funny, as whe□ there'□ a□di□turb□□ce □n a bl□ck-power meeting□(fi□med□in □ grainer,□rough□r style □□an the rest □f□the film)□ In the end □□&□39;s capped□off with a rambling monolog□e□in an interview that□□ops De Niro□;s in Ki□g of Com□dy.□It'□□pretty obvious □h□re De Pa□ma□#39;s career would □o after □his, into □light□y more□mainstream Ho□lywood□te□ritory□□bu□ all of his□t□adema□□s are here□ the dark, almost □ail□bi□i□g □omedy, the p□rfec□ly□timed style of voy□ur□sm, an□□interesting usag□ □f locals. T□ink if □e Palma□and De Niro did□a Monty □ython □il□, only e□e□ m□r□ low-budget a□□ in its□N□w Y□rk w□y□jus□ as off-t□e-hinges,□and you g□t Hi, □om! It □lso contains□a□ eccentric and□funny s□undtrack. imdb comme□t