Un uomo superficiale si innamora di una donna di 300 libbre a causa della sua bellezza interiore.Un uomo superficiale si innamora di una donna di 300 libbre a causa della sua bellezza interiore.Un uomo superficiale si innamora di una donna di 300 libbre a causa della sua bellezza interiore.
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John Eliot Jordan
- Fuel Pizza Waiter
- (as John E. Jordan)
Recensione in evidenza
It's easy to laugh at this film, because the jokes are so broad, but it's equally easy to be offended. The issue I have with the movie is that, in the course of making the point that we should see the inner-beauty in fat people, the Farrellys are implying that by being overweight you are universally ugly. In fact, in the world of Shallow Hal, if you are fat, you are a well-meaning mammoth who couldn't possibly be fancied unless under hypnosis or after an epiphany.
The movie also seems to suggest that the friends of fat people are ugly, and that uglies keep each other's company because no one else will want to associate with them, which is another reinforcement of social divisions. All of Rosemary's (Paltrow) friends are, as we see at the end, equally fat or gross or otherwise physically undesirable. Most disturbingly, the Farrellys undermine the inner-beauty point they've spent $40 million trying to make through Hal, because Hal's friends betray the judgmental reality. When his buddies see Rosemary for what she is, i.e. grossly fat, they are universally horrified in a "what are you doing with her?" way, which carries a more powerful punch than any of the tepid attempts to suggest she's beautiful because of her personality (moulded, we are told, by years of personal abuse because of her size).
The overall message is correct - inner beauty is ultimately what counts, because a sparkling character will outlast youthful good looks by decades. But the Farrelly's have approached the subject in a way that actually insults, rather than genuinely educates. It's not going to uplift anyone who's overweight, it'll just depress them. The majority of the film perpetuates the idea that being fat or ugly makes you a pariah or the object of sympathy or vulgar fascination.
There are some sweet moments, and a few laughs, so the movie's not a wholly worthless experience. But in the process of making its (valid) point it reinforces, rather than rejects, stereotypes.
The movie also seems to suggest that the friends of fat people are ugly, and that uglies keep each other's company because no one else will want to associate with them, which is another reinforcement of social divisions. All of Rosemary's (Paltrow) friends are, as we see at the end, equally fat or gross or otherwise physically undesirable. Most disturbingly, the Farrellys undermine the inner-beauty point they've spent $40 million trying to make through Hal, because Hal's friends betray the judgmental reality. When his buddies see Rosemary for what she is, i.e. grossly fat, they are universally horrified in a "what are you doing with her?" way, which carries a more powerful punch than any of the tepid attempts to suggest she's beautiful because of her personality (moulded, we are told, by years of personal abuse because of her size).
The overall message is correct - inner beauty is ultimately what counts, because a sparkling character will outlast youthful good looks by decades. But the Farrelly's have approached the subject in a way that actually insults, rather than genuinely educates. It's not going to uplift anyone who's overweight, it'll just depress them. The majority of the film perpetuates the idea that being fat or ugly makes you a pariah or the object of sympathy or vulgar fascination.
There are some sweet moments, and a few laughs, so the movie's not a wholly worthless experience. But in the process of making its (valid) point it reinforces, rather than rejects, stereotypes.
Trama
Lo sapevi?
- QuizIronically, Jack Black had to lose weight for the role of Hal.
- BlooperWhen Rosemary cuts the cake the cake is a two layer cake with vanilla on top and chocolate on the bottom. The next shot it is two layers of chocolate. The final shot of the cake the chocolate layer has switched positions. The knife is in a different position in each shot. The size of the slice taken out also gets smaller in each shot.
- Curiosità sui creditiDuring the credits, pictures of the crew are shown as their names appear. We also see scenes of a deleted horseback sequence.
- ConnessioniFeatured in Siskel & Ebert & the Movies: Edge of Stardom (2001)
- Colonne sonoreMembers Only
Written and Performed by Sheryl Crow
Courtesy of A&M Records
Under license from Universal Music Enterprises
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Dettagli
- Data di uscita
- Paesi di origine
- Lingua
- Celebre anche come
- Amor ciego
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 40.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 70.839.203 USD
- Fine settimana di apertura Stati Uniti e Canada
- 22.518.295 USD
- 11 nov 2001
- Lordo in tutto il mondo
- 141.069.860 USD
- Tempo di esecuzione1 ora 54 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1
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By what name was Amore a prima svista (2001) officially released in Canada in French?
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