我的朋友叫哈维

一开始这只是一个精神病患的故事。似乎就是一个酒鬼在遭受丧母之痛后开始患上了臆想症。

男主角总是那么快乐，风趣幽默，彬彬有礼，慷慨大方，一切都那么令人满意。可就是脑筋有点问题。他有一个别人看不见的大兔子朋友哈维，身边的每个人都不相信有哈维的存在，甚至最后要把男主角送到精神病疗养院。

然而，后来，身边的人包括精神病院长也看到了这只大兔子的存在。

我这才发现，原来这是部幻想题材的电影。

哈维，就是我们的梦想；而所谓的“社会正常人”，是没有也不相信大兔子哈维存在的。

在哥哥送他去精神病院回来的路上，的士司机说：那些风趣的温和的人，在接受”拯救“之后，变成充满暴力仇恨的人。

为什么我们眼中的“病人”反倒如此令人喜欢呢？他们爱做梦也相信梦、享受梦。然而正常人们，总是对世界充满指责，总是忙碌着。被世界催促也催促着别人。社会判断一个人是否正常，不管他自身快乐与否，最重要的是他对社会的功能性是否有所体现。一个与别不同的人，令人不安。我们需要的是“社会正常人”。

下面抄录的是的士司机的一段话：

Listen lady, i've been driving this route for 15years. I've brought them out here to get that stuff, and i've drove them home after they had it. It changes them.

听我说女士，我在这条线路上行驶了15年了。我载他们到这里接受那些治疗，治疗后又载他们回家。这里改变了他们。

On the way out here, they sit back and enjoy the ride, they talk to me.Sometimes we stop and watch the sunsets and look at the birds flying. Sometimes we stop and watch the birds when there ain't no birds, and look at the sensets when it's raining.We have a swell time. And I always get a bit tip.

还没进去这里面的时候，他们放松地坐着，享受旅程。他们跟我聊天。有时候我们停下来看日落看小鸟飞翔。有时候没有鸟的时候我们也停下来看鸟，下雨的时候我们也停下来看日落。我们共度很棒的时光，而且我总是能够得到不少的小费。

But afterwards, oh-oh.They crab, crab, crab. They yell at me, watch the lights! Watch the breaks! Watch the intersections! They scream at me to hurry. they got no faith in me and my bugay.Yet, it's the same cab, same driver, and we're going back over the very same road. It's no fun. And no tips.

但是在之后呢，噢噢！他们抱怨、牢骚，发脾气！朝我大喊：“看灯！注意刹车！注意路口！” 他们冲我尖叫催我开快点。他们不再信任我和我的车了。是啊 是同一辆车 同一个司机 ，并且也走同一条路 。没有乐趣了 也没有小费了

（Brother） My brother would've tipped you anyway. He's very generous. He always has been.

（Driver）Not after this he won't be. After this, he'll be a perfectly normal human being. And you know what stinkers they are.

（哥哥）我弟弟会给你的 他很大方。他总是会给的

（司机）这之后他就不会了。这之后他就会变成一个完全正常的人。你知道他们有多讨厌 。

在电影的最后，大家看到了那只大兔子。人们的内心发生了变化。精神病院长也露出了童真的笑容。

那只大兔子，好朋友哈维，其实就是心中美好梦想的象征。

不知道，你有多久没有见过你的老朋友呢？

“My mom told me‘in this world, you must be oh so smart or oh so pleasant', well, for years I was smart. I recommend pleasant.” This bread of life is from Elwood P. Dowd (Stewart), an extremely courteous middle-aged bachelor inHenry Koster’s HARVEY, an economical but gleeful comedy pivots around a looney tunes idea, courtesy to the titular Harvey, a pooka only visible to Elwood in the form of a6' 3½”tall rabbit. Living with his sister Veta Louise (Hull) and her spinster daughter Myrtle Mae (Horne) in their family residence,Elwood again unwittingly sabotages a social gathering arranged by Veta Louise to find a suitor for Myrtle Mae by introducing everyone present to the invisible rabbit friend. Enough is enough, Veta Louise finally decides to put Elwood in a sanatorium headed by Dr. Chumley (Kellaway, circumspectly vacillating between authoritative and ingenuous), and a series of comedy of errors crops up apace one after another, with the amiable Elwood blithely incognizant of the hullabaloo, staying in character, keeping dishing out his calling card to whomever he meets and inviting them to dinner, en passant, match-making the bickering Dr. Sanderson (Drake) and nurse Miss Kelly (Dow) and spreading wisdom in the disguise of fanciful notions, eventually, it is quite irrelevant whether or not he is anold soak who is off his trolley, everyone needs a pooka (or a spiritual animal) for guidance. James Stewart is nominated for an Oscar for magnificently amplifying Elwood's honest-to-goodness geniality and it is a tremendously heart-warming performance because guilelessness, more often than not, inclines to be contrived or over-acted in the hands of seasoned players, but not Mr. Stewart, whose self-deprecating demeanor adds a rather charismatic affinity to the character, it only generates solace to be awash by his pleasantries, as it is the theme of the story, to remind us that altruistic kindness is not a given but an often neglected merit, especially in an increasingly restive, skeptical world as we reside today. The film won an Oscar for the rara avisJosephine Hull, a stupendous stage actress whose film works is only handful, she is such a gas as the balmy and hapless Veta Louise, often kitted up with a whirlpool of line-delivery which she showers upon audience with a comical flourish without diminishing the effect of exigency, and safely secures the payoff when Veta Louise changes her mind in the nick of time to keep the status quo. By and large, the film appears less organic in second-guessing, e.g. the pairing of Myrtle Mae with a boorish Marvin Wilson (White) is cavalier and slightly distasteful, but to honor the precious well-intention behind this shaggy-dog story and its minutely apt arrangement of the-rabbit-in-the-room (aka. Harvey’s apparitional presence), the film deserves its own place in the treasure trove of Hollywood’s finest, not least for its eccentric wrinkle and two extraordinarily pleasurable performances.

referential points: Koster’s MY COUSIN RACHEL (1952, 6.3/10); Frank Capra’s MR. SMITH GOES TO WASHINGTON (1939, 8.7/10), ARSENIC AND OLD LACE (1944, 7.3/10).