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There are many actresses around the world who have won the reputation of "film queen", but who is the oldest film queen?
——Chinese actor Huang Suying
Mention this name, I believe many people will feel strange, this is because Huang Suying has been playing a "small role".
Actress Lu Liping said:
"Sometimes, the small roles she plays do not even have a line, and there is no her name in the cast list, basically a mass actor who runs the dragon set, she does not care about this at all, as long as there is her lens, she will prepare carefully and strive to play the small role well."
She is Mama Wu in "Crouching Tiger, Hidden Dragon", Grandma Gazi in "Little Soldier Zhang Ga", Old Lady Huang in "Flying Over the Old People's Home", and the Chinese mother in "The Man Who Hurts Me the Most In the World".
At the age of 84, Huang Suying won the Huabiao Award and the Best Actress Award at the Chinese Film and Media Awards for her outstanding performance in "The Man Who Hurt Me in the World Went".
In order to portray the role of mother, she was 82 years old at the time and shaved her hair.
"The Man Who Hurt Me the Most in the World Went" was released in 2002, directed by Ma Liwen and starring two actors, Sichen Gaowa and Huang Suying, with a Douban score of 8.4.
Director Ma Liwen's works have always been known for their emotional delicacy, such as "The Two of Us" and "You Are Smiling But I'm Crying" and other films.
The film is based on the author Zhang Jie's collection of essays of the same name, taken from the real experiences of Zhang Jie herself and her mother.
In 1991, Zhang Jie's mother, who was in her eighties, died. At the age of fifty-four, Zhang Jie became an orphan.
"It is much more painful for a person to be orphaned at the age of fifty-four than to be orphaned at the age of four."
In more than a year of grief, Zhang Jie used more than 100,000 words to record the last eighty days and nights of her mother's life, as well as the self-blame and mourning in her heart that could never be filled.
On the basis of retaining the original emotion of the original work, director Ma Liwen screened out the textual materials suitable for the audiovisual media of the film.
The original work is biased towards the portrayal of the character's heart, and the film is more through the superb acting skills of actors such as Sichen gaowa and Huang Suying, which triggers the emotional resonance of the audience and presents fragmented and fragmented characteristics.
When it comes to the filming of the film, it is also a twist and turn:
Because there was no money to stop the machine for a while, and then the director pulled more than a million investment to finally shoot it, I didn't expect to shoot for three years, and the result was not popular after the release.
What kind of movie is this, let's take a look.
The film mainly tells the final moments between a middle-aged female writer and her mother.
The female writer Hao, played by Sichenkova, is a "strong woman", with her own opinions and successful careers, and most of the viewpoints and narrations in the film are hers.
The film begins with a colloquial narrative of death and a mournful tone: "I failed, I lost to my mother." I can't overcome fate, I can't challenge God, my mother died unjustly, I killed my mother, it was my stubbornness that killed my mother..."
This inner monologue sets the main tone of shame and remorse in the film.
This first-person lyrical narration will run through the film. After the narration, the film unfolds in flashbacks.
After a phone call, Ha rushed to his mother's residence.
When people reach middle age, they are often very afraid of suddenly receiving calls from their hometowns, afraid that the elderly have three long and two short.
And this time home, Let Ha suddenly realize his mother's aging.
"The wrinkles that she had spent her whole life in a state of excitement and tension, compact, deep, hard, shiny, firm all her life, now loose, weak, dull, and the wind and waves had stopped."
This aging doesn't even come in the slightest.
"It seems that yesterday was fine, but today it is not good, not even a gradual process."
She always thought that her mother would not grow old, in other words, she did not want to accept that her mother would grow old and die.
When he realized it, he panicked and even began to be uncontrollably hysterical.
Seeing her mother's strange walking posture, he blamed her for not walking well, but in fact, her mother just sat for a long time and could not control her legs.
He instructed the little nanny at home to buy more fresh fruit, but her mother secretly withdrew the money from the fruit, only willing to eat some dried oranges. Ha came back to open the refrigerator and saw the orange the moment she broke down. She threw the orange on the ground and asked her mother aloud why she was doing this.
The mother snorted, acting like a child who had made a mistake in front of her strong daughter, and her eyes dodged, saying that she just wanted to save some money.
Later, he found that in order to save money, his mother did not want to use toilet paper on the toilet, but repeatedly used a piece of cloth, and suffered from a urinary tract infection.
The central theme of the film may be paraphrased from the opening sentence: "I don't know why there are so many very, very, very simple things in this world, but even if I think about it all my life, I can't understand it."
Ha's hysteria is because she resents herself, resents herself for not realizing her mother's aging in advance, and the death that accompanies aging.
And realizing this made her fall into a huge panic.
He took his mother for a physical examination, but was told that her mother had a pituitary tumor and had to operate immediately.
If you don't do it, what awaits your mother will be blindness, and a month or a year of life; if you do, your mother may not be able to get off the operating table.
Do it, or don't do it.
She didn't know what to do, she called her husband, and he was a dead look of "hanging high and hanging high without caring about himself".
She could only tell her mother the truth.
After listening to it, the mother was unusual and very determined to ask for surgery.
"I don't want to live like that." She repeated it several times in a row.
Ha agreed.
Before the operation, the head was shaved, and at the moment when the cut was finished, the mother, who had always loved beauty and wanted face, seemed to have lost her dignity and strength at once, and sat on a stool in a daze, her eyes sluggish.
Seeing this scene, we can also experience the great loss, the loss and powerlessness in the face of aging and disease.
Throughout the film, we see a very simple, yet complex feeling.
Old mothers are becoming more and more like children, making fools of themselves and worrying people.
She would frequently shout at night to go to the toilet, go and not go, make Ha sleep unsteadily, and would also shout loudly in the hospital because she could not see Ha, and would not exercise well.
Ha Na, on the other hand, is under pressure from all sides.
The husband of the second marriage, selfish and stingy, will also put up an official shelf, and cannot help at all; the daughter is far away in the United States; she still has to go to meetings everywhere at work, and write a manuscript at night...
So when facing his mother, Ha seemed very impatient.
After the mother's operation, the "delirium" became more and more serious, and he either simply pretended to be asleep and ignored it, or rudely reprimanded and intimidated the mother.
After being discharged from the hospital, her mother was unwilling to exercise as required, so she said to her mother, "If you don't want to practice, just wait for death." ”
Ha's anxiety made her lose her mind.
Her mother, who gradually became incontinent and needed to wear adult diapers at night, said she "went back the more she lived."
He smiled and hugged his mother to tell her it was okay.
Her mother said that when she was a child, she liked to wet the bed.
I think it was at this moment that I realized that I was not doing enough compared to my mother's efforts and patience.
After the film was successfully released, a program host asked the actor Schenkova: Is the female writer you play filial piety?
Schenkova replied, "She is not filial enough." ”
In the presence of our mothers, we are always able to lose patience so easily and indulge our temper. This is because we subconsciously know that no matter what, my mother will not abandon me, and my mother will always tolerate me and accompany me.
We often forget that the mother is loving us with all her life, even if it is sometimes not so right, so appropriate, so pleasing to our hearts.
"I finally understood that lovers can be changed, but mothers are the only ones."
In fact, in addition to the theme of mother-daughter emotion, "The Person Who Hurts Me the Most In the World" is also a work full of feminine colors.
In the film, Ha's career success is easily denied by her husband, and the relationship between the two is not as good as that of ordinary friends; Ha's daughter is far away in the United States, and from her mother's mouth, we learn that she is "married and have children, and she is still floating outside"; Ha's one leak let us know that his father is also quite indifferent to his mother.
In the three generations of women in a family, family seems to have always been a "problem" for them.
The unsatisfactory nature of the individual's small family makes the feelings between mother and daughter more precious. Mother and Ha can be called dependent on each other.
It is precisely because of this that the death of his mother has dealt a heavy blow to Ha.
On the scales of love, career, and family, maternal love is the pillar. She didn't need a choice, she didn't need to give up, she knew that her mother was always there.
Even when her mother died, she created a new "me."
In "The Person Who Hurt Me the Most In the World Went", Ma Liwen chose the way of "loose adaptation".
"Loose adaptation", that is, under the premise of not following the original work, selectively retain the original idea and condition.
This adaptation has existed since ancient times.
For example, Shakespeare will look for materials from Plutarch or ancient Greek dramas; the "Chaos" filmed by the famous modern director Akira Kurosawa is also cut off from Shakespeare's "King Lear"; "The Man Who Hurts Me in the World" retains the scene and plot of the original book, choosing to unfold in the form of narration, while imaging without losing the deep emotional color of the original work.
The film's first-person narrative perspective allows the audience to quickly enter the plot and resonate with the protagonist:
For mothers, we have too much to say, too much to express. When aging and death take away our mother, we must care for her as she loved me as she did when she was young.
Text/Pippi Film Editorial Department
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