Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson
If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.
[Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.
To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.
More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.
(Howard Schumann, talkingpix.co.uk)
In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.
(Dennis Schwartz, homepages.sover.net)
I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.
(Dave Sindelar, scifilm.org)
See also the remake: Death Takes A Holiday (1971)
最后崩到逻辑都不要了……虽然这故事感人程度不低。最近看的几部电影都能很明显看得出来西方对AI未来发展的想象力太丰富了。
主题很棒，但其他一切都毫无逻辑性可言。明显主创团队对科技和商业毫无了解，只是单纯的凭臆想来讲故事。
为什么动画片总是能把我看哭…ron努力帮助男主找朋友的时候真的太暖了。友情是双向的，没错。
中规中矩的剧本，虽然设定非常新颖，但是还不够亮眼。
可能是近两年我最喜欢的动画电影了，主人公和Ron的互动又好笑又可爱，最后结尾新算法揭开时，合情又合理。那个科技公司也太像苹果了，连老板也是一副蒂姆·库克的感觉，绝对故意的哈哈哈。
像我这种孤僻的怪小孩看这个当然会哭，我也一直都知道友情是跟爱情一样神秘的东西，相同爱好永远只是辅助条件
weirdo与weirdo的友情
元宇宙广告片？反广告片? 最后Ron没留下来没想明白 一行git的事啊 32小时CEO就是Tim Cook笑死
拍烂的互联网AI题材，各种似曾相识的设定，继续暴露出如今大多数好莱坞动画的通病：提出不错的创意，沿用一成不变的套路，打着输送普世价值和人文关怀的旗号给观众熬一锅温情鸡汤，结尾再以合家欢方式平稳落地，虽然不会犯错，但也失去了更进一步的可能，这也是为什么皮克斯工作室往往能超出同行几个层级的原因。本作的关键问题在于讲故事水平不行，社交障碍的人与出厂缺陷的机器这对“完美”组合本该有更多亮点可供挖掘，却只遵循恒定的互动模式搞成了刻板俗气的友情故事，最后让Ron强行牺牲来拯救全世界友谊这种升华桥段纯粹是自我感动罢了，关于科技时代人类过度依赖社交网络寻求认同、缺乏真实世界的情感联系、内心依旧孤独的立意也已然是陈词滥调。福斯又一次版权秀，Bubble 公司那位钻钱眼子里的ceo是在影射和讽刺谁已经很明显了。
3.5星。大数据作品，Ron有点像缩小版的大白，有几幕还是挺暖心的。创始人好像库克和“黑化”的扎克伯格。
当某些神经病妄图把人类带入元宇宙，他们在呼唤真情实感的回归。
Iphone得了新冠病毒，库克决定必须清零。男主化身Ethan Hunt潜入到苹果公司核心“无极”圆环套圆环世界。男主的好战友Ron牺牲了自己拯救全手机。3.5星
友谊是什么呢?
好叛逆好可爱的机器人！除了主角一人一机之外其他角色都略微带了点浮夸，但是主角性格太好了，不得不喜欢
Zach Galifianakis as SkyNet? It's both horrifying and hilarious.
连垃圾爆米花片子都没有打过一星！这片子看的真是让人窒息！社交网络的东西都是虚假伪装，大数据下的机器人难道就能成为最懂你的朋友么？多少信息多少喜欢多少浏览量跟手机打开通知有什么差别？主动把手机所有消息都关闭已经让人们不能摆脱手机的束缚了，还要强加一个叽里哇啦的机器人在你身边不停的张牙舞爪提醒你？整个片子都充满着让人心跳加速呼吸不畅的烦躁感而不是什么治愈机器人！这是完全不能跟超能陆战队的大白相提并论的机器人！配音找的都不好，说话都让人抓狂！尤其是Rich！
非常俗套的友情故事，跟大白差不多，但这机器人应该无法出圈。
7.5/10
好可爱哦，小男孩勇救小天才手表，但是Ron明明不必消失T T
好可爱，真的好可爱！有探讨家庭，但重点在友谊上，以及一些当下社会中常见的问题，比如小孩子或者大部分年轻人都太过于依赖社交网络，把自己的全部生活都展示在互联网上，过着应该“云端”的生活；人工智能和人的关系问题；以及这些科技公司的产品以及信息服务公司对大众的非法监管、收集信息侵犯公民隐私的问题。不过毕竟是动画片，受众是小朋友，所以没法表现的像疑犯追踪一样真枪实弹的，不过最终问题依旧还是那个问题（当然这并不是电影的中心，只是因为导演用了大量篇幅来描述这些问题所以引起我注意了而已）。总之表现的还不错！我很喜欢！（另外，人工智能都逃不过自我上传到互联网然后永生的命运吗👀（好多恐怖片也是这个走向呢，庆幸Ron是善良的小朋友.jpg
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