Jack O'Connell produced and directed this patchwork portrait of the hippie scene in 1967. The best parts are the rock band live performance sequences, although some of these clips were staged to appear as though they were filmed at ballroom dance concerts. Which is similar to what other films and TV shows at the time tended to do, rather than film an regularly scheduled club or ballroom dance concert with all the craziness of a real gig in full swing. PETULIA (1967) for example featured Janis Joplin with Big Brother & the Holding Co. performing at the unlikely venue of The Fairmont Hotel. PETULIA also captured The Grateful Dead playing on the dance floor - not even on a stage -in a very small club setting. REVOLUTION (later reedited and retitled THE HIPPIE REVOLUTION, briefly released theatrically in 1996) had a soundtrack album of studio takes that doesn't include all of or match versions of songs played live in the movie: Quicksilver Messenger Service are hard to make out in the dark, but perform a rousing "Codine" before the band is abruptly cut away from half way through the number; the all-girl band Ace of Cups perform "The Grass Is Greener" live in the park - sounding about as garage as any SF hippie rockumentary ever get; Dan Hicks of The Charlatans does an acoustic solo ditty called something like "He's Stoned" that's a nice rarity; and I'm not too wild about the footage of Country Joe & the Fish or the early Steve Miller Band but it is after all a hippie movie with Hare Krishnas and everything else that defined the wide-eyed idealism of the age.

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他们困在内疚的塔里，最后选择，妈妈还是要去当他的妈妈，就算必定会死。可爱小球感觉是生活中的希望/未来，但是秃鹫蚕食掉了这些。秃鹫也很痛苦，困在塔里出不去，没有食物，只能痛苦的循环；埋掉秃鹫就像是埋掉自己。鹦鹉像是塔的维护者，他们像是不想离开这个塔。因为塔的存在，他可以见到母亲，困住后母，也可以维护自己构建的天堂。电影感觉可以切成三片：现实的痛苦，不能融入新环境，不能接受新家庭；塔的引路人，设定有点像soul，这里是他与现实世界的边界，他在这里能感知到现实世界，能感知到痛苦

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电影中的音乐也是一个重要的元素，它为故事增添了浪漫、温馨的氛围。主题曲该剧悠扬、动听，成为了电影中不可或缺的一部分。

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李博宇的死亡给家庭带来了巨大的伤痛，而潘雁秋的坚强和母爱的力量让她们继续前行。这种家庭的责任和担当，让观众对家庭的内涵和意义感到更加深刻。

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简介中提到女主人公徐曼芳是一位母亲，而人类赖以生存的大地也是一位“母亲”。这种比喻使观众更加深入地理解了作品中关于生命的探讨。