MIRACLES, aka. MR. CANTON AND LADY ROSE, is Jackie Chan’s remake of Frank Capra’s POCKET OF MIRACLES (1961), which itself is a remake of his own LADY FOR A DAY (1933), marrying the original idea’s rags-to-riches caprice with Chan’s trademark action spectacle, the result is among one of the king of kung-fu’s best offerings ever.

Out of an improbable quirk of fate (the causation can be boiled down to the homophones, “stomach 胃” and “seat/position 位”, both are pronounced “wei”), a country boy Kuo (Chan), who has just arrived in Hong Kong for the first time, is mistakenly taken as a successor of a local gang during a skirmish with its rival, lead by the boss Tiger (Ko), hailed from mainland Shandong province.

Attributed his stroke of luck to the rose he has bought from the kindhearted flower vendor Madam Kao (Kuei), Kuo gets into a habit of buying a rose from her every day to keep his luck streak, meantime, after winning the respect from his henchmen, save the treacherous Fei (Lo Lieh), who holds the grudge that he should take his place, and aided by his right-hand man Uncle Hoi (Wu), Kuo decides to go straight by transforming their illicit business into managing a legal nightclub, headlined by the show-stopping chanteuse Yang (Mui), with whom he becomes romantically linked.

The ongoing gang war with Tiger (which awesomely exhibits Chan’s masterful action choreography and gobsmacked stunts including the money shot, a dust-up inside a rope factory) and the persistent intervention of police inspector Ho (a particularly coaxing and droll Richard Ng) aside, the movie’s main course is to help Madam Kao fabricate a new identity, who has been dedicating all her life to support the study of her daughter Belle (Gloria Yip), now the latter is newly engaged and on her way from Shanghai to Hong Kong with her fiancé (Joe Nieh) and his rich father (Tien Feng), all believing that her mother is a wealthy socialite, a lie Madam Kao cannot justify and she is distressed that it will eventually spoil the matrimony.

In for a penny, in for a pound, Kuo, much at the behest of Yang, pulls out all the stops to help Madam Kao to maintain an affluent appearance which means comically, he and his underlings have to keep in check anyone who might let the cat out of the bag, until everything reaches a seeming boiling point, but if you think eventually true love surpasses any materialistic concerns, think again!

Peppered with star-studded cameos, and strongly riding on its borrowed source material, MIRACLES emerges as an all-around achievement for Chan, both as its director and the actor, apart from his preternatural physical plasticity and the capacity of superintending an opulent project with a firm hand, he is also an understated comedian, who can add celerity and alacrity to the unstopped comedy of errors with a mixture of resignation and assurance, totally a high-wire act.

referential entries: Sammo Hung‘s WHEELS ON MEALS (1984, 7.1/10); John Woo’s ONCE A THIEF (1991, 6.5/10).

龍叔的這部電影真的是佳作，結(jié)尾的那一段很亮眼，整部電影的節(jié)奏感也很好，無論是鏡頭語(yǔ)言，還是動(dòng)作設(shè)計(jì)，都值得稱贊。

龍叔飾演的郭振華獨(dú)自一人來到香港，但開局就被騙光了錢，隨著一束貫穿全劇的幸運(yùn)玫瑰，他稀里糊涂的當(dāng)上了黑幫的老大。因?yàn)楹芏嗲珊?，郭振華相信玫瑰能夠給他帶來幸運(yùn)，所以，每次出去辦事的時(shí)候都要找玫瑰夫人買上一束。后來，為了幫助善良的玫瑰夫人瞞著她的女兒，郭振華帶著他的整個(gè)黑幫開始演戲。但一個(gè)謊言需要無數(shù)個(gè)謊言，最后，需要扮演各個(gè)香港名流，可黑幫怎么可能演好名流呢。結(jié)尾的轉(zhuǎn)折非常感人，通過郭振華一番真摯的話語(yǔ)，真正的香港名流出動(dòng)了，為這部電影畫上了一個(gè)圓滿的句號(hào)。

我記得電影中有好幾個(gè)經(jīng)典的長(zhǎng)鏡頭，還有繩廠那一段的打斗場(chǎng)面，都相當(dāng)好。

評(píng)分:8.6

我并不認(rèn)為幫助玫瑰夫人是什么好事，也不明白最后那么多名流一起做局騙人是什么奇跡。玫瑰夫人像個(gè)綠茶，所有人都知道玫瑰夫人是賣花女，只有她最親最愛的人被蒙在鼓里，難道不可悲，用自己的弱勢(shì)來?yè)Q取所有人的同情和幫助。郭振華把自己幫助玫瑰夫人只為能被稱道的好事，買玫瑰只是為了運(yùn)氣，站在最高點(diǎn)俯視一切。一場(chǎng)可笑又可悲的喜劇，打戲確實(shí)還可，溫度卻是不夠的，三觀與我不相契合，梅姑成了花瓶

香港80-90年代，是電影造夢(mèng)的年代。 不知道是因?yàn)橄愀?0，90年代的電影伴隨我們這一代人成長(zhǎng)，還是以為那個(gè)年代電影的魅力，總讓我欲罷不能的回味無數(shù)遍。在pplive上翻了許久，始終找不到一部片子能讓我消磨這個(gè)繁忙而又安靜的感恩節(jié)。還好mac 版的pplive上有某某巨星合集。不知道有多少人能記得這部電影—《奇跡》。成龍主演，并且導(dǎo)演。攝于1989年。這部?jī)蓚€(gè)多小時(shí)的典型港片陪伴我渡過感恩節(jié)前夜。成龍，梅艷芳，他們那時(shí)真年輕。