When the media refers to women who step on the tails of twenty-year-olds as "middle-aged women", and when ballads link thirty-year-old women to the wrinkles in the corners of their eyes and the situation of lovelessness, the word "woman" seems to be "stigmatized" intentionally or unintentionally. The resistance to women's identity gave consumerism an opportunity, and Women's Day became "Goddess Day", another carnival of merchants.
Before the beginning of the god-making movement in consumerist societies, the biggest initiator of the god-making movement was Hollywood. Between the two world wars was the golden age of Hollywood, but also the age of goddesses. These goddesses who came out of the California studio, although made in the United States, were used to be worshipped and revered all over the world. The owner of the film company is zeus, the god, and the movie is the myth of the goddesses showing miracles.
Joan Crawford
Betty Davis
Joan Crawford and Betty Davis were once two deities on the altar of the United States, two goddesses with distinct, strong and tenacious personalities, who have stood tall and strong. Perhaps because of this, we have to witness the unfortunate process of turning the altar into an altar.
In the 1950s and 1960s, when the Cold War was in full swing and the United States implemented a policy of containment, the panic caused by the problem of consciousness also affected Hollywood, a large number of filmmakers lost their jobs because of political tendencies, and the creation of real-life problems almost disappeared at the script stage.
At the same time, changes in the socio-economic structure contributed to the end of the studio era, and actors did not need to rely on acting skills to eat, as long as blonde hair, blue eyes, "choppy waves", and sweet looks, they could be praised. The big screen in Hollywood became the domain of Marilyn Monroe.
Born in the early twentieth century, Joan Crawford and Betty Davis would not have imagined in the fifties that they would one day poke at the acting skills and tastes of popular female stars from the side of the former female star.
As a young joan Crawford, her acting skills were controversial, and Betty Davis struggled to get a chance to perform because of her feminine looks. The two experienced the peak of their careers in the 1930s and 1940s, and in the 1950s and 1960s, when there was no good script and Sweet Lady fully occupied the acting market, in addition to fighting to the death, there was almost no possibility of creating the second peak of their careers in line with the times.
The American drama "Feud: Bette and Joan" focuses on the feud between Betty Davis and Joan Crawford, two actresses of Hollywood's golden age. In the face of the big era, the two twilight beauties under the triple attack of economic crisis, career crisis and family crisis can only do the battle of trapped beasts. But when the two beasts were placed on a hill, the stage and off the stage became almost the same looking.
In 1962, Betty Davis and Joan Crawford starred in the horror film "What Ever Happened to Baby Jane?" As the two most brilliant women of the same period, Betty Davis and Joan Crawford, who competed in the same game, had already despised each other because of the entanglements in their emotional lives.
In 1962, Betty Davis (left) and Joan Crawford filmed the horror film The Bluesmay.
Jessica Langer played Joan Crawford in Old Enemies.
Susan Sarandon played Betty Davis in Old Enemies.
The two were already incompatible before they co-starred in the movie. Betty Davis has also publicly ridiculed Joan Crawford's acting skills several times, saying that she had the opportunity to play a lady in the film because she was a "Bichi".
Joan Crawford is also not a good stubble. After her death, her adopted daughter Christine wrote a book documenting her life. It is mentioned in the book that Joan Crawford is quite deep, can quickly win people's hearts and minds, and never gives up to useless people. Compared with Davis, she is the predecessor of the film industry, the fame is first, the prestige is higher, so she is still convergent on the table, only secretly sword fighting.
At the Oscars the following year, Joan Crawford was unhappy that Betty Davis had been nominated for Best Actress for the film, and contacted the female guest who could not be present that day to offer to accept the award. Whether it was human or serendipitous, Anne Bancroft, who was crowned that night, failed to attend the awards ceremony, and Joan Crawford appeared on the stage as a surrogate leader. This scene also became the most wonderful scene at the 35th Academy Awards, more than any movie of the year.
"Lan Boudoir" has achieved gratifying box office results and great success. The feud between the two female protagonists is more striking than the entanglement in the play, and the film company knew this and still cast the same type of film "Hush... Hush, Sweet Charlotte) as a sequel.
The hostility between the two grew so high that they could not cooperate. Joan Crawford withdrew from the sequel and was replaced by Betty Davis' friend Olivia de Havilland, but the duo's rivalry lacked dramatic tension and the response was mediocre after its release.
It is worth mentioning that Olivia de Havilland, who cameoed in the TV series by Catherine Zeta Jones (of the roles she has played, the most well-known to Chinese audiences is probably "Melanie" in "Gone with the Wind") is herself the protagonist in another "old grudge". Her feud with Joan Fonden is as wonderful as Betty Davis and Joan Crawford.
The unsuccessful sequel also heralded the end of the 1960s. Davis' career once again came to a standstill, and Joan Crawford withdrew from public view in the early 1970s, leaving an epic entanglement for memories.
In "The Old Grudge", Ryan Murphy, who is also an executive producer, producer, director and screenwriter, has been keen to do excerpt compilation work in recent years. After the success of the American Horror Story series and the first Simpson case of American Crime Story, Murphy extended his tentacles to the sword-rattling relationship.
Initially, Murphy wanted to focus on the entanglement of Betty Davis and Joan Crawford like the American Crime Story series, but he lost his way in the process of creating it. From a modern perspective, "Blue Girl" is full of the common problems of the horror suspense movies of that era, and the actresses' performances are indeed outstanding, and it is really enjoyable to watch Baby Jane, the core character played by Betty Davis, frantically torturing the sister Blanche played by Joan Crawford.
But once you understand that Betty Davis boldly self-destructs the screen image and breaks through the motivation of herself, all comes from the winning heart of Joan Crawford, it is difficult not to be attracted by the lace news outside the movie. Moreover, Betty Davis, who has always been quite bold in the face of media speeches, confessed that she was fully involved in the role only because she could beat Joan Crawford with the hands of the crazy and naïve Jane Babe.
As a result, Murphy turned the focus of the story to the verbal battle between the two people inside and outside the play. Japanese people like to watch "unruly", Americans like to watch debates, these preferences are no different from Chinese like to see all kinds of "strange theories", they all want to see how people adhere to their own positions, how to implement their own ideas, and how to use words to persuade the other side and defend their own ideas.
But these positions and propositions, once grouped into individuals, are bound to lose their depth. The feud between Betty Davis and Joan Crawford has become a war of words between you and me, and the popular entertainment circle article starring the all-Oscar post-film lineup; the keywords have also changed from "Hollywood Golden Age" to "heart machine" and "struggle", playing pigs and eating tigers, layer by layer, tearing faces offstage, and putting dark arrows on stage.
Good acting skills, more natural drama. Who wants to watch the drama bone performance, in any era, the most interesting thing is the rumor about the drama bone.
In "The Old Grudge", Hollywood female journalist Heda Hope's activity is particularly eye-catching. Helda Hope was the most powerful woman in Hollywood in the 1950s and 1960s, and she only used one person and one pen to disrupt the entire operation of Hollywood at that time, and the street lamp pointed out the target of the official attack, killed many people with different opinions, and used this to build prestige, create fear, and make other people obediently shut up.
Heda Hope was once a well-known stage actor, and after changing careers, he was still full of drama, adding drama to himself from time to time, and he was always the one with the most drama in a scene. Of course, as a first-line commentator in Hollywood, she has never missed a good play, and even if there is no good play, she can make a play herself.
As a generation of viewers immersed in various media and entertained to death, the vast majority of people have the potential to be Heda Hope. The public is happy to judge celebrity anecdotes, to stand outside the circle and look at the decline of an industry with a mocking eye, and to point fingers at every bucket of gold that others do not earn by their ability.
If everyone in the public is given a strange Heda Hope-style hat full of stage sense, then everyone can shake their heads and appear in the first-line magazines, creating gods and killing gods. And the Internet has made it possible.
"Old Grudges" generated for audiences in the Internet age, even if it claims to be an "epic", there is no need to express epic. Just like Heda, add a catalyst to the blandness and make "Shi Tear" more tense and intense.
Let the documentary discuss the impact of the Hollywood star-making movement on the deepening objectification of women, and let sociologists study the differences in age evaluation of the public based on gender. Don't waste Susan Sarandon, don't waste Jessica Langer, don't waste Judy Davis (the Australian actress is not related to Betty Davis), and don't waste the many big-name actors who came to make cameos, let these bones return to the yesterday when the actor (Ronald Reagan) was also ruled, in the entertainment circle of ten ambushes, in the flash, rolling out arrogant white eyes.
It's the cries of gossip lovers: Let the actresses tear it up harder!
Poster of "Nemesis"