A film festival gathered six international screen goddesses, what are the chances of "fairy fight"?
Yes, this year's Shanghai International Film Festival, a total of six international film goddesses appeared in the competition films and exhibited films-
There is Isabelle Huppel, who debuted at the age of 14 and has appeared in more than 120 films so far, Juliet Binoche, who won an award, and Julietta Massina, who is compatible with her director husband Fellini...
And when we look back at these front waves, of course, don't forget some of the back waves that are coming, showing the world film industry the infinite possibilities of their careers. In June 2017, also at the Shanghai International Film Festival, French director François Oujong's black-and-white film "Franz" made us remember a very special German actress.
It was Paula Bell's first toned out, and it wowed the crowd. Her film "Wendy" will once again give us a taste of the strength of the new generation of post-95 actresses, because this is her winning the berlin film festival best actress laureate.
Similarly, perhaps only veteran fans know that the same post-95Spanish actress Greta Fernandez has just won the Best Actress laurel at the San Sebastian Film Festival. In the film "The Thief's Daughter", Greta played an ordinary single mother who played her father, Edward Fernandez, without falling behind. Her performance became a plus for this unremarkable script.
Some of the proud women of heaven in these light and shadow zones have fairy beauty, some have amazing talents, and what they have in common is that they have stepped out of the path of a steady acting school step by step. They have the most pampering, but they cherish feathers more, and they are not eager to get into the trend of so-called big productions and commercial films, but continue to cultivate the soil of art films. Their characters are complex and fascinating, representing the most authentic humanity, and they use textbook-level strength to prove that superheroes may exit, and the muse on the screen is always a treasure.
What is the "truth" that Deneuve and Binoche are seeking together
The film "The Truth", which was nominated for the Golden Lion Award at the Venice Film Festival, finally came to the Shanghai International Film Festival. This is the 15th feature film by Japanese director Hirokazu Kore-eda after the success of "Thief Family", and another important highlight of the film is the first time that two goddesses in the French film industry, Catherine Denaf and Juliet Binoche, have co-starred in a film.
Known as the "Light of French Cinema" and the "First Lady of European Cinema", Catherine Deneuve was nominated for the César Award for Best Actress 13 times in her career, and finally wore the crown twice. At three major international film festivals in Europe, she won lifetime achievement awards in Cannes and Berlin. In the French film industry, where the "goddess" is abundant, she is a witness and participant in the New Wave – the only actress who has experienced the entire history of European cinema and is still alive. In contrast, as a representative of the younger generation of actresses, Juliet Binoche's career is even more spectacular, not only won the French film César Award for Best Actress, and the three major International Film Festivals in Europe, but also won the Academy Award for Best Supporting Actress. It can be said that there are no more than three actresses in the world with such achievements as her.
Therefore, when these two "Wang Bombs" appeared in the movie "The Truth", it was expected that it would receive widespread attention. The film is based on kore-eda's stage play "The Cloak", written 15 years ago, and the protagonists are a mother and daughter who work in the show business together but are estranged from each other.
In Kore-eda's aperture, Catherine Deneuve is the absolute soul of the film, and Juliet Binoche performs well in several antagonistic scenes with Deneuve, and the rest of the time is almost obscured by Deneuve. Deneuve's mother, Fabian, played in the film, is a film superstar who has won the César Award twice, which is actually a true portrayal of Catherine Deneuve herself. In 1980, Deneuve won her first César Award for Truffaut's The Last Subway, and in 1993 she won another award for Indochina.
Whether Kore-eda explores whether it is cruel for ordinary people to watch artists up close through the mother-daughter relationship in the film "The Truth", we do not know. But like in the film, Binoche punctures everything Deneuf states in his autobiography over and over again, and here you see the cruel practical meaning of "truth." Like the real-life Deneuve and Mastruanni, they broke through everything and separated after three years together. In 1973, Mastruani starred in Hello, The Artist, and there is a line in the film in which the artist's lover tells the artist, "On the screen you are real, but when you are with me, you are like a wandering ghost." This sentence became the end of Deneuve's relationship with Mastruanni. Mastruani's career plummeted, and in his later years he also had mental problems, often saying: "Shhh, I'm from Fellini's films, I'm not real." ”
Only Deneuve laughed to the end, not only won the award, but also played the heroine of Kore-eda at the age of 75. People can't help but sigh, the film circle is the Colosseum, and it is of course strength and luck that can live to become an "evergreen tree". And Deneuve has both, to know that her heyday, and the golden age of European cinema is synchronized, Truffaut, Fellini, Polanski and other endless new wave standard-bearers to create the prosperity of the European film market, in contrast, Kore-eda's era is much lonelier.
Huper: An old aunt in her 60s? No! It's a girl
When 30+ actresses in China are lamenting that they can only play their mother-in-law at an age, French national treasure actress Yu Peier is upgrading all the way to fight monsters. Few people can imagine that at her age, she is still in love in the movie without a sense of violation. When the blockbuster "Her" was staged a few years ago, Hupel was 63 years old, and even in France, there was no actress of her age who dared to face the camera like her without a sense of age.
Because of the endless possibilities of her creation, Isabelle Huppel had a name: a 60-year-old girl.
This is the sister who rides the wind and waves, right?! There are works, there are influences. Yuper not only has a business cow, but her fans are also wrists. Oscar actress Nicole Kidman saw her on the Armani runway and immediately respectfully squatted down to perform a kissing hand salute; "sweet tea" Timothy Chalame regarded Huper as an idol in his heart; Barry Jenkins, the director of the last Oscar best film "Moonlight Boy", said "My Queen" when he mentioned Yu Peir, as long as he sent a circle of friends, he must @ Hupel himself.
As for appearance, for Pelle, it was never a limitation.
When she was young, her appearance was not outstanding, 160 cm tall, her appearance was flat, and in france, where the beauty of the clouds was like clouds, her appearance could not attract the attention of the producer. Even more sarcastically, she said that as soon as she took the Paris Metro, she would quickly disappear into the crowd, because every carriage had a girl who looked better than her. What's more, there was another amazing "goddess Isabel" in France at that time.
People say, "When Adjani cries, the camera breaks."
Both "Isabels" are good at playing "Crazy", one hot and one cold. In contrast to Isabelle Adjani's infatuation, Huppel's energy comes from her skinny body. She seems to be born with an ability to express ambiguous innocence, sensuality, mystery and mediocrity. She once said, "In American cinema, everything is revealed. Even the blur is drawn with horizontal lines up and down, exposing... Being a Frenchman means having the ability to be ambiguous. In the same way, she also said that every role she has played is her, and every role is not her, because no one can define her.
Huper usually gives the impression of "cold", and the corners of her slightly sarcastic mouth are slightly raised upwards, exuding a cold temperament that penetrates the world. From the quiet and shy lace woman in "The Weaver Girl", the quiet and elegant Anne Brontë in "The Brontë Sisters", the promiscuous wife in "Madame Bovary", the innocent and beautiful Margaret in "La Traviata", the repressed pianist in "The Piano Teacher", the stereotypical neurotic old maid in "Eight Beauty", the mother in "My Mother" who fell in love with her son and could not extricate herself... As the queen of European literary films, Huppel has worked with many film masters, and her deeply rooted image is almost without exception a woman with a cold appearance and a struggle inside.
The legendary French actress has previously been named Best Actress at Cannes twice, in 1978's Violet Nozier and 2001's The Piano Teacher, which made her the first actress in Cannes history to pass unanimously. In 1978, the director of the film "Violet Nociel" and the French New Wave master Chabrol met the young Huppel: "I need someone to play a very, very unusual role, are you interested?" Huper agreed without saying a word. In her dictionary, there may never be the word "timid."
Compared with the "fearlessness" on the screen, Huppel in life is very low-key. She rarely vacations outside of Paris, rarely talks about her private life, and whether she and her life partner, director Ronald Schama, are sure to marry is still an unsolved mystery. She would be happy that she was walking down the street without being recognized. It is said that on another occasion in the lobby of a hotel in New York, she and Robert De Niro waited for each other for more than an hour because they did not recognize each other.
In 47 years, Huper has starred in more than 120 film works, won two Cannes film queens, two Venice film queens, and maintained the César Award nomination record for best actress with 16 nominations. In 2017, she was invited to China to do her "Huper Reading Duras for You" event in Beijing, Shanghai, Guangzhou and other places. On the stage, Yu Peier, sometimes a white long skirt, sometimes leopard print, sometimes wearing a red motorcycle suit, flashing a mysterious atmosphere around her, the mystery of belonging to a girl is still retained in her. At some point, you will feel that she has become one with the girl in Duras's pen. It seems fitting to describe her in the famous sentence of Lover. "I prefer your battered face to your current devastated face compared to when you were younger."
She said: "We are always keen to talk about the tragic fate of actresses. It's not the movies that kill them, it's life. Ignorance is a dangerous nightmare maker... Do you think an actress should start at the age of 15 and end at 20? ”
In the history of the Cannes Film Festival, Huppel is more than just "Best Actress". In 2009, Huppel was invited to chair the jury at the 62nd Cannes Film Festival. It was she who pushed the Palme d'Or to award Michael Haneke for his new film "White Ribbon". Huper's strong style even made the jury appear dissatisfied with her. None of that mattered to her, however, and the greatest pleasure of going to Cannes was to witness great wonders – to see what kind of masterpieces those obscure directors had brought.
At the Shanghai International Film Festival, two of Pell's old works were screened. They are "Madame Bovary" and "Cold Tribute".
In 1991, Huppel starred in the film Madame Bovary, based on Flaubert's famous book, playing Emma, lost in love and passion. In 1995, Huppel starred in the crime film "Cold Sacrifice", in which she played the poor Jane, who hated the rich very much, and her hatred of the rich reached a distorted level, constantly inciting her friend Sophie to break with her rich family as a servant...
The film earned Huppel the Best Actress Award at the 52nd Venice Film Festival and the Best Actress Award at the 21st César Awards for French Cinema.
"Don't cry, Julietta, don't cry!"
In 1993, at the age of 73, Federico Fellini received the Academy Award for Lifetime Achievement. When he stood on the stage and received the trophy from Sophia Roland and Marcelo Mastruani, his wife, Giulietta, sat down and cried. Then Fellini uttered the famous thank you. "On an occasion like this, it is easy to thank everyone. Of course, I would like to thank everyone I have worked with. I can't count everyone's name, I just want to say one name, an actress, she is also my wife, thank you, don't cry, dear Giulietta, please don't cry again. ”
Many people know Giulietta Massina, the wife who has been with Fellini for 50 years. The Pisces actress is not beautiful, but because of her unique innocence and sentimentality, she is called "Crying Queen" by fans. Giulietta's crying was not a hoarse howl, nor was it a weeping tear of pear blossoms with rain. Her tears surged like a tidal wave, drowning her innocent eyes and sliding down her cheeks to the corners of her drooping mouth. In Fellini's The Great Road, Giulietta's clown outfit is impressive.
With a small dome hat, a wide cape, a sea soul shirt, and a white face painted in oil, thick eyebrows, and a red nose, she danced happily like an elf under the gaze of onlookers. In 1953, Giulietta won Best Actress at the Cannes Film Festival for her role in Fellini's Film Night of Cabilla. This time, Giulietta plays the simple-minded Kabylia, who is heartbroken and sloshing through the streets after being cheated by men again and again. A group of lively men and women passed by her, singing happily, and the atmosphere infected the disheartened Kabylia, and a smile instantly appeared on her simple face, as if tomorrow was a new day to look forward to.
This year' Shanghai International Film Festival set up a retrospective section of Fellini's works. We can see ten fellini masterpieces such as the famous "Wandering Child", "Eight and a Half Parts", "La Dolce Vita", and of course, "Juliet and the Devil" starring Giulietta Massina, which is Fellini's first color film and giulietta's last appearance in her husband's film. At this time, Julietta is no longer the happy appearance of the girl who sold art in "The Road", but the expression that was unique to her when she was young, timid, but it has been retained on her face. In Fellini's words: she retains a mixture of mystery and innocence.
Juliet's Devil is roughly a companion to Eight and a Half, a terrible story written specifically for a woman with a grudge. It tells the story of a middle-aged woman who has lost her youth and blindly struggles and self-destructs in a marriage without love.
It is said that Julietta was not keen on this role at that time. In the film, Fellini borrows the mouth of the male actor in the film to explain his concept of love: a man's infidelity is nothing, but only temporarily lends his soul to pleasure. The daydreams in the movies are not Giulietta's, the huge, the noisy circus, the ships at sea, the grandfather who elopes with young actresses... During that time, Fellini's work was greatly influenced by Jung's psychological theory, and from "Eight and a Half Parts", he gradually abandoned the traditional narrative method, infinitely magnified the nightmare to the screen, and firmly believed that the dream was the only reality. In Juliet and the Devil, Fellini is also trying to erase the boundaries between life scenes and dreams.
In the movie, Juliet hopelessly watches love fade away in marriage. On set, Giulietta endured that the director's husband could turn a blind eye to anyone's mistakes, but as long as she had the slightest bit of dissatisfaction and disobedience to him, Fellini would scold her in front of the whole crew. Being an artist's wife is inherently an ordeal. When your beloved one ventures into life's darkest waterway again and again, all you can do but pray is wait for him to return. Giulietta no longer asked Fellini to create for her, nor to play the heroine of his films, because, she understood that she was no longer the goddess of genius she loved, and that all dreams had a waking time.
Juliet and the Devil ends with Juliet waking up in the morning. Last night's nightmares had dissipated, and the sunlight had made the air a little yellowish. She stood in front of the door, arms outstretched, and breathed deeply. After watching this film, people who believe that this pair of gods and immortals who jointly dedicate themselves to the art of film cannot help but have doubts. Fellini had always liked the plump and sexy beauty of Biki Bardot, and Giulietta had never been. Although the couple's 50-year marriage has become a good story, who really believes that their lives are unchanged without a ripple?
Fellini died on October 31, 1993, when he received the Lifetime Achievement Award, and four months later, Massina passed away. She had followed him all her life, and when she was younger, she said in an interview, "If I hadn't met him, I would have spent my life in housework." In Fellini's book I Am a Liar, he wrote of the relationship with his wife: "I think the relationship existed before the day it happened. "Yes, without Masina, Fellini's early films would have been boring. She is the actress who makes the director's dreams shine into reality, and her face, movements, affection and tone make her a unique clown, a little girl who can act in pantomime and recite like a troubadour, and at the age of nearly 40, she still embellishes her bleak life with innocent and sensual dreams.
Author: Chen Xihan
Editor: Zhou Minxian
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