What is the difference between a bad melodrama and a good plot? The key is the emotional response. If the viewer thinks he or she is being forced to react in a particular way, "button," the director is at fault. While manipulation is almost always mandatory for melodrama, it should be done in such a way that no one in the audience realizes it at a time. Emotional highs should evolve naturally from the plot; the storyline should not form in those moments. Movies like Forrest Gump and Titanic capture the details of melodrama. Failed to spend as much time as Patch Adams trying to reduce tear-jerking, transparent tricks through a series of cheap viewers.
It's another "based on a true story..." feel-good movie that aims to convince us that there are two kinds of people – the free spirit (the good guys) and the establishment genre (who are the inevitable villains). The protagonist, Robin Williams, who takes turns playing in his familiar plays/comedies, is a mentally ill man, who, during his time at Fairfax State Psychiatric Hospital, decides he wants to go to school to become a doctor. So, in his 1971 release, the 40-something man was admitted to Virginia Medical University. However, when teachers preach book knowledge and emotional detachment, the supplement believes that to treat the disease, doctors should contact the patient. And his attitude was to accept that some of his classmates, including a beautiful girl named Carin Fischer (Monica Potter), Dean Walcott (Bob Gunton), forbade patches to have real patients, to be exposed, and when he violated them, he found himself in danger of being kicked out of medical school.
The film was directed by Tom Shadyac, who led the number one master of Ventura films, and written by Steve Oyidkirk, who was the second behind the scenes (the double also teamed up with a remake of Fat Guy Professor Eddie Murphy). While these two men have some skill in comedy, they have little or no drama. Patch Adams is nothing more than a series of excessive emotional scenes connecting traditional plot lines. Anyone interested in exploring a better way to reach the same basic idea should see a doctor, and at this point, William Hurt plays a surgeon who knows the indifference of the medical community when he becomes a patient. In patches of Adams, there were also tender moments that should be mended with the dying sick, towering sorrow as he recited poems to the coffin of a lost friend, and victory as he overcame the army to attack him. And, as seems mandatory for such films, there is a large speech at the end that makes Al Pacino's remarks seem subtle in contrast to the smell of the woman. (This may be noteworthy, however, that the joke in the movies over the past few years is flatulence, so perhaps both Shadyak and Oedekerk are trying to show some maturity.) ）
Robin Williams, who won an Oscar for his pretty low-key role in Mind Catcher, was shaken between effective and in between. Sometimes he has some funny moments (which isn't bad when Patch Adams goes to comedy), but for the most part, the dramatic part of his performance is over. He was forcing the audience to react emotionally. And, while trying to replicate his work in The Wind and Rain, Williams was a script that didn't polish the work, so some of his scenes were met with over-tension and heartbreak.
The supporting characters have many familiar faces. Monica Potter, a recently seen biography of Prefontaine, without limitation, is Patch's younger girlfriend. Daniel London was his first student convert. Philip Seymour Hoffman (Happy Prank Phone) is Patch's stereotypical roommate. Bob Gunton is Dean Walcott, the embodiment of evil. Michael Jeter is a cellmate in Patch's mental ward. Elma Hall was a nurse at Patch's magic hospital in patch's work, and Peter Coyote was a grumpy cancer patient who became one of Patch's greatest successes.
Patch Adams was nominated for Christmas release, presumably because Universal believed viewers were more susceptible to the kindness of this half-baked storytelling. However, with the more unappetizing stepmother arriving on the same day, it was bound to run against the Krinecks facial tissue. Adams is a patch movie that places viewers who experience emotions that are interested in working (with a happy ending) without obviously or awkwardly caring about their manipulation. I find this sledgehammer filmmaking has to be offensive, but there are also people who like it. Somehow, though, I don't think there's enough audience for such a low-quality threshold against Universal's struggling ship financing. Adams was a studio patch and didn't do a lot of right with another bug.