Actresses in literary and art films are always ridiculed for not being able to look good, such as Huang Duck, who has just held a wendai meeting on behalf of a new generation of actors, and then the number one person in South Korea's Chungmuro Road - Jeon Do-yeon.
You may not be familiar with her work, but you must know the names of the actors she has worked with:
Song Kanghao, Ha Zhengyu, Kong Liu, Li Zhengzai, Pei Yongjun... It occupies almost half of the number one male actor in the Korean film and television circle.
Her glory is not only in the Korean film industry, but also in the entire Asian film industry.
Why can this "not beautiful" face win the only two Cannes film queens in Asia, and why can it win the crown of several generations of Korean literary and art film queens?
01
A dull face full of mood
This face is always evaluated as dull, so where does the sense of dullness come from?
Look closely at this face, all the lines and heights are gentle, the facial features are small, and there is no high-sharp shape, which will never make people have a series of visual impact associations such as refinement and beauty.
The upper half of the face is even more criticized.
The position of the frontal nodule is high and prominent, the hairline position is backward, and the double pinch makes the visual effect of the forehead appear more and more wide and bulging. The eye sockets are sunken and the eyelids are collapsed, so the feeling of loneliness and haggardness like a housewife is always haunting the body.
The lower half of the face didn't seem to be much better.
The nasolabial lines are clear, the lip shape is blurred, the sides of the jaw are protruding, and even the neck that is too thin when dynamic is often even bursting with green tendons.
This is indeed a plain face, not beautiful, not ugly, not any recognition to talk about, belongs to the type of people thrown into the crowd and instantly drowned out without a trace.
But thanks to this blandness, she contributed a clean canvas that can carry infinite changes of color for her acting skills.
Her expression can interpret complex emotions very well, not through the extremely distorted and deformed facial features to roar, but with the slight pull of the corners of the mouth, the seemingly innocent pull in the eyes, and the shallow displacement of the facial muscles, to superimpose another layer of elusive mood on the original emotions.
It is a gentle action to smash the boulder blade on your heart, choking people's eyes sour.
Uncle really loved her delicate mandible.
The corners are clear, the nodes are down, and there is a clean and resolute texture under the hair that is always soaked with sweat into a strand. Imagine if it were a smooth little pointed face, how much less interest it would be.
She is dignified and rigid on the outside and even plain and dull, but the inside is hot and burning, and the tenacity and extremely surging emotions hidden under the skin can penetrate the heart of the viewer.
If it is a face with unlimited colors, people can't help but be distracted by beauty. Quan Duyan's face is plain, but there is a huge nothingness hidden in the plainness, and the nothingness contains an incomparably tough deep vitality.
02
Where does the deadly charm of the queen come from?
In 1997, the 24-year-old Jeon Do-yeon won the Korea Blue Dragon Film Award and the Film Bell Award for Best Newcomer Actress for her film debut "Sad Street Corner Lover", and has since made her debut in the Korean film circle.
But it wasn't until 1999's Happy to Die that Jeon Do-yeon set the tone for her subsequent roles.
In this film, she plays a cheating housewife who has a successful career but longs for love and comfort, and is eventually killed by her depressed and cowardly husband in the emotional torment.
In 2003's "Scandal", she played a widowed martyr who finally broke through the feudal chastity system under the temptation of a high-society playboy, and ended up dying for the prodigal prince played by Pei Yongjun.
In 2007, she won the Cannes film queen "Miyang", in which she played a single mother who tried to find salvation by faith after losing her son, although she had never experienced the identity of a mother in real life.
In 2010's "Next Daughter", the 37-year-old Jeon Du-yeon played the low-level maid who cheated with the rich man, and after being tortured emotionally and physically, chose to use the most tragic way to self-destruct and retaliate.
In 2016's "Man and Woman", she and Kong Liu are a pair of middle-aged men and women who met because they were trapped in the snow of a foreign country together, as if they were ambiguous in a stagnant time, and they crossed the ethical boundaries of each other in an endless strange way.
After taking stock of the important roles in Quan Duyan's career, it is not difficult to find that most of the marginalized women she plays are marginalized women living at the bottom of society, often misunderstood by the outside world, and suffer from mental wounds that are difficult to heal, often falling into the emotional dilemma of morality and desire tearing each other apart, full of tragedy.
And this is exactly the situation that many low-level Women in South Korea have experienced and are even experiencing.
Shu remembered another book that Cho Nam-joo, a South Korean "Writer of the Year" and also the author of the original "Kim Ji-young born in 1982," had published, called "Her Name Is."
The interviews include the real experiences of more than 60 women in South Korea, from sexual violence in the workplace to basic sexism, whether they are 9-year-old elementary school students or 68-year-old housewives.
In a documentary about Li Cangdong, the director of "Miyang", Uncle Oxygen liked a passage in it, "The characters and the playwrights use their respective artistic expressions to take on the responsibility of speaking out for those groups that are ignored by society." ”
Shu has previously written that the aesthetic style of Korean cinema is closely related to the "hate" culture rooted in the heart of this nation. If there is endless hatred, there will be eternal patience and instantaneous outbursts.
Jeon Do-yeon has no intention of being a breaker of class and gender solidification, but in the process of entanglement and struggle with the world, the character she plays has really broken a gap that allows Korean women to breathe and be seen.
She broke down not only the wordless barriers between men and women, but also the iron wall of class between the upper elite and the lower classes, or the wall of fate between luck and misfortune, justice and injustice.
As an actor, the first thing to immerse yourself in the role is to be able to open your body and mind to the reality in which the characters live, to think about the various social dilemmas, and the inequalities and prejudices that prevail in the world, which is the premise for obtaining the inner dramatic tension of the characters.
And Quan Duyan's approach is not to think about whether she is acting well in front of the camera, but to directly throw herself into it and express all that can be felt.
Her face is always the same as desire and despair, which is the most direct emotional revelation of the person in the situation.
Therefore, the resilience of the almost crazy demon, the appeal of loyalty to the will of the self, the layered sense of emotional richness and ups and downs, and the subtle embodiment and profound disclosure of human nature are all most vividly displayed in QuanDuyan's body.
She is also very beautiful, this beauty has long surpassed the skin of the coincidence, and into a more powerful charm, there is an infinite rich taste to taste.
03
Those actresses who feel fierce in their vitality
Not only Chun Du Yeon, but also those Korean actresses who are full of deep vitality have their own charismatic traits that cannot be copied.
Pei Doona, a female police officer who transcends age and gender taboos and falls in love in "Dao Xi", is cold as a gun, and when soft, she is like the most precious lamb in the world.
In "Alone by the Sea at Night", the actress Kim Min-hee, who falls in love with a husband and wife, has the sensitive mystery of cats, mourning but not hurting.
In "Burning", the penniless promotional girl who dreams of traveling the world, Quan Zhongrui, is as rebellious and confused as wildfire.
In "Silver Jiao", the 17-year-old girl who falls in love with the 70-year-old poet Jin Gaoyin exudes an ignorant and rich girlish fragrance.
The life force on their bodies is not only strong, it is simply fierce, and they would rather hit their heads and break the bloodstream, but also peel off the blood scab of morality and morality to taste the sweet smell of desire.
For the uncle, this kind of sexiness is the most fatal and the most flavorful, and true heroism is not to endure the pain, but to the point of almost numbness, but also to struggle to get up again in the mockery of fate.
Just like Jeon Do-yeon's character, fate can destroy her, but it can never destroy her.
If the form doesn't give you a glimpse of recognition in the crowd, don't worry, your ego can.