On the morning of January 9, Beijing time, at the 74th American Film and Television Golden Globe Awards ceremony held in Los Angeles, the honor of the best actress in a drama film was awarded to the French actress Isabelle Huppert, which is the latest and most important honor for the film since the film was released in 2016.
French actress Isabelle Huppel won the Golden Globe Award for Best Actress in a Drama Film.
Huppel in "Her" plays the role of a raped entrepreneur. This is also the return of director Verhoeven after many years of silence. However, when it was released in France, the reviews were polarized.
On the French hit film network alllociné, the average score given by the audience was only 3.5 points, while the usually demanding media professional film critics gave a high score of 4.3.
Poster of "Her"
In the two most popular audience reviews of 2.5 and 2.0, there was no opinion on Pelle's own hard work and dedication in the scene, and the disappointment stemmed from the gap in audience expectations, that is, the complex characters of lust, sex, ethical chaos and other morbid beauty belonging to the Parisian middle class that were successfully created by the original book, Philippe Djian's novel "Oh...", and in the film, the relationship that belonged to Parisians was not finally expressed in place. The "discomfort" created by the plot of the movie is also a reason for the audience's low evaluation.
The praise of the film by the Media such as France Television One, The New Observer, and El Liberation is exactly the same as that of most viewers - the interpretation of the characters and the discomfort created, which media critics believe is the success of the film. So why are there such divisive sides?
Huppel in "Paris Lust"
I first learned about Hupel from Michael Haneke's Piano Teacher, but I only watched it after Eva Green, who created the classic erotic image of Dream of Paris, preconceivedly attributing the lead position of the image to the latter. In fact, the image of lust created by "The Piano Teacher" belongs to the characteristic erotic image of French society after the May Storm, and Huppel preceded "Dream of Paris".
Poster of Violet Nozier
As a young girl who became famous as a bad girl in "Violet Noziel" and won the Best Actress Award in Cannes for this film, his acting career can be described as "young fame, young and plain, old and second spring". After winning the Best Actress Award at Cannes again for "The Piano Teacher" in 2001, she began to achieve hand cramps with the award.
From the point of view of lust and dramatic conflict, "She" is a middle-aged and elderly version of "The Piano Teacher", all of which explain how human nature is chaotic and full of tension in the chaotic ethics, and its valuable point is that it has no embellishment and honesty in the face of human nature, which is similar to the theme of "Love", which is similar to the theme of "Love", which is the success of Huper's second-time cooperation with Haneke.
Perhaps this sincerity of "Her" makes the audience directly uncomfortable, precisely because the dramatic conflict is too real, violent, and penetrates people's hearts. This may be the characteristic of director Van Hoewen, but Yupel has more credit, she is loyal to the role, and only tries to present the truth of the character.
When Verhoeven was looking for a heroine in the French industry, several of the intended actresses did not dare to take the scene, only Hupel did not hesitate to agree, which is probably one of the reasons why the director thanked her again at the Golden Globe Awards ceremony.
Poster of "The Piano Teacher"
David Birke, the screenwriter of the culture of familiar games, adapted the identity of Michelle, the collector, the protagonist of the novel "Oh...", a more typical and more in line with Pell's realistic image of the Parisian middle class symbol, into a game industry entrepreneur. Philippe Dijon, the original author of huppel, an old Parisian who was familiar with the chaotic beauty of the Parisian middle class, created "collectors" rather than "entrepreneurs", which he derived from his sensitivity to the French social class, and the novel was very successful in France, changing the roles was equivalent to changing expectations.
Stills from "Her"
As an audience member, my feelings about "Her" are complex, so complex that I didn't watch it from beginning to end like I watched other masterpieces, and the uneasiness in my heart led to this result. This feeling for Pell began with Danish director Joachim Trier's Back Home.
The main line of the film is the adolescent conflict between father and son, showing how a family slowly has problems before and after the change. But for me, the most shocking plot was created by Huper, the heroine she played went to Paris to participate in the exhibition, and when the young fresh meat met, the little fresh meat was attracted by her temperament and fame, but at the moment of taking off her clothes, she finally couldn't stand the old skin and lost interest in making love. This reflection on aging is heavy, especially under the influence of O.Fløttum's music. The success of the human and ethical conflict presented by Huper in this film is consistent with "Her".
In the French film industry, or In Chinese film fans, especially in the pirate DVD booth in the corner of the computer market more than a decade ago, Yu Peier bought literary and artistic films, thus becoming familiar with various French film stars, Yu Peier, together with Sophie Marceau, Juliet Binoche, marion Cotillard, can be called the "four big flowers" of French contemporary female film stars.
Among the four of them, Hupel is the oldest, and even though he has received honors in "The Piano Teacher", compared with the other three actresses, Huper is more active, has taken on the second role longer, and has gradually won praise from all walks of life after moving to the United States. Since her debut in 1972, she has averaged two films a year, becoming an immortal star spanning several film generations. Not getting old is because Huppel can take on more types of roles and can successfully shape a variety of different types of images and styles as his age changes.
In this way, she has a little enlightenment for Chinese filmmakers, that is, to tirelessly pick up and act, and be loyal to the film works and the role itself, no matter whether the film is good or bad, the film emperor is polished out like this.
(The author is Chen Zhenduo, a French doctoral student in sociology.) ）