As far as the scope of Asia is concerned, China, Japan and South Korea are undoubtedly film and television powers, and in terms of vertical comparison, before the 1980s, it was undoubtedly Japan that was holding the top position, and director Akira Kurosawa alone had dominated Asia.
Although there are many strong directors in Japan today, such as Takeshi Kitano, Hirokazu Kore-eda, etc., the momentum is not as great as before, and the lower shortcomings are Japanese actors, especially actresses.
Because in Japan, they pay more attention to the actor's TV drama ratings than the so-called artistic value and awards, which leads to the focus of Japanese actors being different from that of China and South Korea.
Kuroki was 23 years old and took the Berlin film queen, but in Japanese dramas, if she encounters Yuki Niigaki, Rimi Ishihara and others, she must be the one who matches.
In "Little Home", Kuroki Hua plays Takako Matsuko's maid
It's not always a matter of rejoicing that value bows to price, but thankfully, that's not the case in China and South Korea.
There is an Cannes film queen in China, Maggie Cheung, who won an award in 2004 with the movie "Clean"; South Korea has an Cannes film queen, Quan Duyan, who won the award in 2007 with the movie "Miyang"; Japan is a pity, there is no.
Looking at Maggie Cheung's films, if the awards are removed, "Cleaning" cannot be regarded as a very good work. Douban scored 7.5, and the audience's evaluation of it I think is slightly higher.
《Cleanliness》》
Maggie Cheung's performance in the film is calm and natural, but the role is not distinct, compared to her roles such as Green Snake, Jin Zhiyu, Ruan Lingyu, etc., it always carries a sense of strangeness.
When she first debuted, Maggie Cheung, who was considered a vase, in what year did the transformation of her acting skills occur? Following her journey, I found out that it was during the 1989-1990 period when she was about 24 years old.
During this period, Maggie Cheung starred in four films of extraordinary significance. The first is Wong Kar-wai's "Carmen in Mong Kok", in her follow-up acting research, everyone unanimously believes that Maggie Cheung met Wong Kar-wai, which made her acting skills have a divine turn.
Carmen Mong Kok
In "Carmen Mong Kok", Maggie Cheung played the reserved, green and simple cousin A'e, who did not apply powder and her eyes were black like paint, and Andy Lau was fascinated at a glance.
In the scene of bidding farewell to Hua Tsai, the two walked a while, sent Hua Tsai to the car, and watched the bus leave. She knew that this might be the last time she would see him, clinging to it, but helpless, and then tears overflowed her eyes and slowly flowed down.
What a moving performance, what a pity cousin!
Her acting skills shined, so later, in the same year, Guan Jinpeng asked her to star in "People in New York". The story tells the life experience of three women in the United States in Mainland China, Taiwan and Hong Kong.
"Man in New York"
Si qinggaowa and Zhang Aijia are old drama bones that are a generation older than Maggie Cheung, but in this film, Li Fengjiao, played by Maggie Cheung, is the most exciting, so she took the Golden Horse Shadow Queen.
The movie "The Man Who Doesn't Take Off His Socks", which I think was filmed almost at the same time, is a seriously underrated film, and the whole film is full of poetic atmosphere, and Miss Huang, played by Maggie Cheung, portrays a girl from the countryside to the metropolis, who loves vanity but has a kind heart, so plump and moving.
She is ignorant, full of longing for love and warm embrace, but the hardships of life tightly choke her throat, this dilemma of ambivalence, Maggie Cheung played too well. So, she took the golden statue of the queen.
"The Man Who Doesn't Take Off His Socks"
The following year's "Rolling Red Dust", Maggie Cheung was a little worried about playing with Lin Qingxia, after all, the opponent was Lin Qingxia, who was known as the first beautiful woman in Asia.
After the film came out, we found that no matter who Maggie Cheung played with, she was full of confidence, which showed that her acting road had laid a solid foundation at this time.
Nine years younger than Maggie Cheung, quan duyan, who also took the Cannes Queen Trophy from Maggie Cheung, broke out in 1999. Two films laid the foundation for her to date as korea's best actress.
"The Organ in Memory" is a love movie about the love between teachers and students, and Jeon Do-yeon plays a sixteen or seventeen-year-old country girl in her twenties, a fifth-grade student.
The Organ in Memory
The woman plays the girl, and Quan Duyan stands up the character in one shot. At the beginning of the film, she carries her two- or three-year-old brother and a group of eight- or nine-year-old girls to jump rope together, and after making a mistake, she angrily attributes the reason to her brother.
What a cute girl!
Teacher Jiang, played by Li Bingxian, is from Seoul, young and handsome, with a mouth of white teeth, and is the object of Quanduyan's admiration.
The first time we met, Teacher Jiang was shy when she asked her for directions; she carried her brother to school, and after being questioned by Teacher Jiang, the next day she ignored her mother's request and was unwilling to carry her brother to school; Teacher Jiang did not write a comment in her diary; Teacher Jiang did not come out to save people in the classroom fire, and she was stubborn to rush out to extinguish the fire despite the obstacles; the portrayal of these details, Quan Duyan used a kind of girlish unique spirituality, flawlessly deduced, too good.
In the same year, Jeon Do-yeon made a completely subversive movie "Happy to Death". The ten-minute long erotic scene at the beginning of the film is quite shocking.
Playing Quan Duyan's husband is Choi Min-sik, the lover is Zhu Zhenmo, compared to Cui hequan, Zhu Zhenmo, who is only one year younger than QuanduYan, is too immature in acting.
"Happy to Death"
Quan Duyan, on the other hand, describes a woman who lacks passion in marriage, encounters problems in her feelings, seeks to vent, but cannot abandon her family, as if she hears her voice, as if she sees her person.
Efforts do not necessarily reach the peak, even if they struggle to the age of flower armor. There are geniuses in every line, and I think Maggie Cheung and Quan Duyan are probably the geniuses among the actors!