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简介：该片讲述了:清风来到警备司☝令部，见到了♨유于志国于特派员，☢✈清风向于特派员介绍了✂☯自己的身份，于☵ㄨ志国碍于他舅舅李参仪✑☞的面子，让清风当上海清✒✁党委员会2号政治密查员，☁现在的主要任务是从板✉凳口中迅速查✉☱处共党的最高情报“火种✉”的下落，在看守所里♥清风见到了师弟☵♤板凳，问起‘♨♦火种“的下落。☐♧︻峄ǚ酃糁⑼环ⅲ詈漳芯龆ń凭图☝✏疲源宋桑虻腥苏♡┙担诙苑剿尚噶司♠璧氖焙蛲晃С鋈ィ笏皆诙媳诓☛유性湔箍思ち业南镎✑健?Scorsese and De Niro have been pushing each other so far for so long that audience polarisation now automatically accompanies the risk of their major-league collaboration. The King of Comedy guarantees a split even at the level of expectations: it's definitively not a comedy, despite being hilarious; it pays acute homage to Jerry Lewis, while requiring of the man no hint of slapstick infantilism; its uniquely repellent prize nerd is De Niro himself. The excruciating tone is set by an early freeze-frame of fingernails frantically scraping glass. Flinch here, and you're out, because Scorsese never does while detailing fantasist Rupert Pupkin's squirmily obsessive desperation to crash TV's real-time as a stand-up comic on the Carson-modelled Jerry Langford Show. Buttonholing its star (Lewis), then rebounding from brush-offs to hatch a ludicrous kidnap plot, De Niro's Pupkin isn't merely socially inadequate; he's a whole dimension short - happily rehearsing with cardboard cut-outs, choosing the flatness of videoscreen space for his schmucky jester's tilt at being 'king for a night'. Whereas the film itself is all unexpected dimensions and unsettling excesses, with the ambiguous fulfilment of Pupkin's dream frighteningly echoing the news-headline coda of Taxi Driver. Creepiest movie of the year in every sense, and one of the best.