Guess who this actress is?
Haha, Haiqing.
From the national daughter-in-law to the chicken baby tiger mother, finally, Haiqing also embarked on the road of playing a village woman.
Playing a village woman is certainly not "falling", for example, Zhao Liying recently played the village woman He Happiness in "Happiness to Ten Thousand Families", and some people said: Zhao Liying has also begun to pick up rural dramas.
This contempt is obviously ignorant.
In fact, the role of "village woman" has always been a sharp weapon for actresses to seek breakthroughs.
For example, "I am not Pan Jinlian" by a certain ice, "A Spoon" by Jiang Qinqin, and "Baby" by Yang Mi.
Easy to understand, the impression of the village woman is often ugly, dirty, biao, sharp and bitter, these characteristics are completely contrary to the bright female star, once the image is established, the previous stereotype of the actress is covered, and the acting skills are proved.
But.
When actresses used village women as stereotypes to crushers, the image of "village women" was stereotyped by some of them.
Village woman, are you really acting right?
How does an actress usually play a village woman?
Dress up ugly.
Yes, in order to make the audience feel the subversion at a glance, borrowing the village woman's self-ugliness seems to have become a must.
Lin Chiling had a mouthful of yellow teeth in "Decisive Battle brake horse town" and also put on various vulgar costumes.
A certain ice plays the village woman Xuelian in "I am not Pan Jinlian", wrapped in a turban, and her makeup is as gray as a dirt face.
Yang Mi, who played Jiang Meng, who had a congenital disability in "Baby" and was discarded by his parents and engaged in low-level work, deliberately put on a dull freckles.
But the audience did not buy the image of these village women.
Why is such a strong visual impact still not impressing the audience? Because makeup can only bless the character, it is not the key to the success of the character.
But actresses usually equate dressing up ugly with acting skills as sacrifices.
Even some actors still reveal an overwhelming sense of moral kidnapping in the campaign: so ugly, so sincere, how can the audience not be satisfied?!
Keywords: dedication, strength proof, sacrifice
Keywords: acting, abandonment of idol baggage, disfigurement, subversion, sloppiness
To put it bluntly, disfigurement equals acting.
As soon as the two words touched, the new concept came again - disfiguring acting!
For some creators, the process of shaping the character is condensed into one step.
But isn't this some kind of quick fix?
Those creators who have successfully shaped the image of the village woman will not play ugly for the sake of being ugly. Costumes are just one of the ways they fit into the characters.
Jiang Wenli played ugly in "Li Chun" in order to feel the role from the body to the psychology, consciously not for the result, just to experience the process of losing "Jiang Wenli" and getting close to the role.
She even admits that being ugly doesn't make her exactly that character, but just get a little closer, don't talk about what sacrifices are, and what you should do is what you should do.
When Gong Li performed "Qiu Ju Fights a Lawsuit", she tied a fake pregnant belly, wore a large cotton jacket, and always wore a green turban.
Even the village women around her washed their hair with washing powder and washed their shiny hair into dry hair.
Looking also deliberately ugly, isn't it?
But that's not the ultimate goal.
Gong Li's concern is not whether the shape is ugly or not, but whether the fit can be used as a qualified tool to make her immerse herself in local life, and then live into Qiu Ju herself.
On the first day of her entry into the group, she not only dressed up as Qiu Ju in appearance, but also lived in a life commensurate with Liu Peiqi, who played her husband, and insisted on doing farm work and carrying water to cook.
To what extent?
Local villagers always enthusiastically remind Liu Peiqi not to let his pregnant wife do heavy work.
When shooting, a large number of shots were done in the crowd, and in the vast sea of people, Gong Li was really no different from the villagers around her.
Look, Gong Li did not deliberately ugly Qiu Ju, rustic dress, dry hair, gray head and dirty face just to truly present the real state of local women in the northwest.
One more detail. Although Qiu Ju and Gong Li herself are indeed earthy compared, Qiu Ju's character is not an ugly woman, but a beautiful woman who is often praised in the eight villages of Ten Mile.
Oh, has it subverted the stereotype of village women by some creators?
Photographing village women doesn't have to highlight ugliness.
They may not be fashionable enough, but daring to show the natural beauty of the village women has made many classics.
In "My Father and Mother", Zhao Di always wears a fat red cotton jacket and braids with a green thread, but she is also recognized as the most beautiful girl in the village.
Her beauty has an earthy smell.
The earth lady does not represent ugliness, but is unadorned.
Her run in the mountains is also a natural and bright scenery, which has become a classic image in the hearts of many movie fans.
In "Mountains and Seas", Shui Hua, played by Reiza, has good grades since childhood, looks beautiful, and is the most beautiful girl in the eyes of Ma Defu, the youngest and most promising village cadre in the village.
Although always wrapped in a cheesy yellow turban, the director used backlight to make this village woman feel holy.
He Fuxing of "Happiness to Ten Thousand Homes" did not deliberately play ugly. As soon as he appeared, his rustic makeup, old-fashioned wedding dress, but his star-like eyes were still very good-looking.
To put it bluntly, ugly is not ugly, it depends on the character setting, not blindly following stereotypes.
Playing the village woman well without dressing up ugly may be more resistant than playing ugly to the extreme.
Let's talk about another stereotypical trait that plays the village woman: not afraid of getting dirty.
Yang Mi played a cleaner in "Baby".
Mopping the floor, taking out the garbage, she is always silently buried in dirty labor, you can feel that she wants to try not to contradict. But when she picked up the trash can, the upturned little finger still exposed her disgust.
The more you cover up, the more awkward it becomes.
Must the village woman not be afraid of getting dirty?
In "Mountains and Seas", Reiza's splash does not hide his instinctive reaction of being afraid of dirt.
In order to get rich, splashes concentrate on growing mushrooms, but the raw materials for mushrooms are fermented from feces, and the taste is flushed. Although she never stopped working, she was still smoked to the point of frowning and vomiting at the same time.
Village women are not only afraid of getting dirty, but they can even love to be clean.
In "My Father and Mother", when Zhao Di holds the hair card sent by the male protagonist, the gaps in his fingers are mud.
And not afraid of getting dirty? No, the mud was meant to echo her falling to the ground during the day as she chased the man.
In addition to this, the hand is close-up at other times in the film, and her fingers are as clean as freshly washed green onions.
See, village women are also afraid of dirty and love to be clean.
You will find that the creators who come up and classify the village woman as ugly and dirty, and can only interpret this image in stereotypes, are actually carrying a rush of quick success.
They failed to understand that the reason why village women could not always wear delicate makeup and remain clean at all times was only because they were in a barren environment and had too many labor services directly related to survival on their hands.
There's no time to take care of it.
They just live in the countryside.
Of course, they can also be beautiful and loving and clean.
At least it is yearning.
By nature, they are no different from us.
Patching didn't affect the neatness of the trick either
After talking about the appearance, let's talk about the stereotypes that are displayed in the personality when shaping the village woman.
For example, 犟.
In "Baby", Jiang Meng heard that the parents who had no way to do anything gave up treating babies with congenital disabilities, and the Virgin's heart was flooded, and she called her parents with all her strength to judge them morally.
He Happiness of the recent blockbuster drama "Happiness to Ten Thousand Homes" is also very sharp.
But whenever there is injustice, she does not care about the face of others, nor does she want real money and silver compensation, but only wants the perpetrator to apologize. Therefore, the whole village thinks that she does not understand human feelings.
But in the early plot, He Xingfu's character who believes in death is established, why? Because she looked out of place with the whole village, quite unreasonable, in essence, she was the most reasonable person.
In her limited cognition, the right and wrong of the individual is her simple value, and it is the spiritual need of her birth as a human being.
It is rare for creators to jump out of stereotypes and dare to let a village woman with only a junior high school education have a clear spiritual pursuit.
This insistence is not a pejorative stubbornness, but a positive stubbornness.
Therefore, the audience can understand the reasoning behind her seemingly unreasonable, and even taste the straightness and cuteness behind the stubbornness.
But then The Happy Man collapsed.
A person who once insisted on suing the other party in court because his sister was molested by marriage and the family's land compensation was not close, in the face of the sister-in-law who was replaced by a degree and changed her lifelong destiny, she instead advised her not to cry or make trouble, and "wanted to open" on this.
Because of the compensation for the matter, the beneficiaries included her and her sister.
She even used the slogan "Ten thousand families for everyone, everyone for everyone" to morally kidnap her sister-in-law and in turn forgive the perpetrator and further self-sacrifice. Why?
Her reasoning was that even if justice was sought, it would not change the status quo of not being able to go to college. But when her sister was molested by marriage, even if she sought justice, she had already been molested, so why was she resolute?
All this changed the purpose of her previous confession of death: not for right or wrong, let alone for reason. All her arguments have completely become a kind of self-interested double standard. This returned the face of the village woman to the original pejorative prong.
An unreasonable and narrow insistence.
In fact, "Qiu Ju Fights a Lawsuit", which is also adapted from "The Legend of Qiu Ju", presents a village woman who is only stubborn and stubborn more vivid.
The husband was kicked and injured by the village chief, and Qiu Ju wanted to say it very clearly: the village chief hit someone is not right, he has to admit it.
So when the village chief threw the indemnity money on the ground, she faced the money in the land, grinned and turned away.
When others bought gifts on behalf of the village chief to make amends to her, she confirmed that the village chief did not buy them personally, and returned them unchanged.
However, when she judged the village chief from a "bad person" to a "good person" because of the village chief's life-saving grace, and heard that the public security organ had taken the village chief away according to the law according to her previous report, she dragged the body of the newly confined child and stumbled in the ice and snow to chase the police car and ran away with her turban.
The whole film is frozen in her confused look: the bad guy should apologize, but why is the good guy caught?
This kind of doubt, which she could not understand, erected the image of this village woman who had always measured the earth with the scale in her heart. Her stubbornness may be a little foolish, but it is by no means annoying. Her stubbornness is positive and understandable to the audience.
Village women can be stubborn because of their limited knowledge, but they can always lead them to the cunning and force them to make mistakes.
Let's talk about the stereotype of a village woman's personality:
Tiger.
Lin Zhiling played the humble woman Chunniang in "Decisive Battle brake horse town". Partner Sun Honglei broke the news, the good-tempered Lin Chiling is difficult to perform bad temper, and has made jokes.
Among the villagers who were smoky and full of people's voices, Chunniang wanted to shout "shut up" in a grumpy voice to stop the disorder, and as a result——
On the shooting scene, the extras didn't hear it at all.
How about the film effect?
It can only be said that it can be seen that Lin Chiling is trying to pretend to be tough, but it is not right.
A GIF.
ChunNiang seemed to be angry and shrugged off the crowd, but if you look closely- her hand didn't touch anything at all.
Not by accident.
Kick Sun Honglei, the foot is collected.
Fan Sun Honglei, the hand is making the inch touch the past.
Lin Chiling, who is gentle in nature, is not suitable for playing a humble woman at all, and no matter how she blows her nose and stares at her eyes, she is just making things up.
So, what kind of humble woman is right for taste?
Yan Ni played the widow Jiu'er in "Bullfighting", and as soon as she appeared on the scene, she grabbed milk with all the women in the village.
That momentum, but really rushed to the eye, biting the back teeth, closing the eyes and shooting randomly, scratching randomly.
Why?
Because she really wanted that milk.
It was her desire.
But she was a widow with a foreign surname in this village, and she was used to being bullied.
Good things can't be her turn, she can only grab.
But Lin Chiling? Why did she have to play a hummer? In "Decisive Battle brake horse town", her people set up what it is.
Lin Chiling is not unable to play a village woman, but playing a delicate version seems to be much more pleasing to the eye.
You will find that the creator who classifies the village woman as sharp and biao, and can only interpret this image in stereotypes, is actually a kind of superficial ignorance.
They failed to understand that the reason why village women look sharp and strong is not that they are born like this, but because they must show a strong side in the discourse environment of strong men and weak women.
It was a last resort.
In "Bullfighting", the village chief takes the lead in squeezing out the lines of Jiu'er when jiu'er was born
They just live in the countryside.
They can be reasonable and stubborn, and their soaring may only be a protective color.
Instinctively, they are no different from us.
The only difference is that most of the village women's figures have a bitter background.
But the bitterness of fate must bluntly render the bitter vendetta of the village women?
The cover of "Baby" has already shown a bitter appearance, and Yang Mi in the main film has not been afraid of suffering and tired work, and almost never has a smile on his face.
Liu Yifei played a widow who pulled her daughter alone during the War of Resistance against Japanese Aggression in "Beacon Fangfei", which also has this problem.
Laundry by the river, hiding money in the basement, taking care of children while washing dishes, she always works non-stop, her look is grim, but she is not impressed.
Even for this film, Liu Yifei was named the most disappointing actress at the Ninth Golden Broom Awards.
When I think of the village women, I will only emphasize that not being afraid of suffering or being tired is actually the most boring.
Even if the background is bitter, the tenacious village women show a variety of postures, and if they want to highlight this suffering, the creators do not necessarily have to be so blunt.
Some village women, bitter but not self-aware, naturally do not always have a bitter face.
"Mountains and Seas" because the village must be full of sixty households to have electricity, and Shuihua is warmly welcomed as the sixtieth household.
-Growing up so big, I knew for the first time that I had such a golden price, or such a golden law.
She smiled shyly, leaving those who listened to her to be distraught in vain.
Cao Guiying of "Hidden in the Dust" has a disability, not only walking is not good, but also unable to have children and often urinary incontinence, and is laughed at everywhere he goes. The sister-in-law did not want to see her, treated her like a livestock, let her live in the backyard of the wind and rain, and scolded her while calling her...
After marrying a poor and old old bachelor, one day she lamented happily at her husband:
Once I watched you feed it in the yard and thought I was not as alive as a donkey, and it hurt. So I'm happy to be with you. (to the effect)
She didn't think much of the past, and she was happy about the present. On the contrary, the husband listened, and a big old man wiped away tears.
Some village women, even if they know that they are bitter, never leave much time to show sadness, more, they are busy gritting their teeth and insisting.
The splash of "Mountains and Seas" is working day and night, but no matter how tired, I insist on dragging the tired footboard to continue to help load and unload mushrooms.
The village woman on the far left is Splash
He Fuxing of "Happiness to Ten Thousand Homes" was busy opening an inn, and also dragged heavy steps into the bedroom, but even so tired, she also looked at her husband, and still wanted to interact with him and take care of his feelings.
In "A Spoon", the village woman Jin Zhizi played by Jiang Qinqin has a poor family, her son is in prison, and her husband has brought back a fool.
The camera does not close-up the bitterness on her face, and we can use a medium-to-long-range view, and we can also feel her bitterness in the small movement of her face.
Early the next morning, she picked up her emotions again and neatly delivered food to the fool.
How bitterness penetrates into the background, they are all tenacious to live the days in the red.
There are fewer people who hang suffering half of their faces permanently.
To tell the truth, the image of successful village women is mostly filmed in reverse.
Shoot them laughing.
Jiu'er is a widow, who is criticized by the villagers and ostracized. But Jiu'er always smiled, and when she heard that the Eighth Route Army had brought a cow, when she begged for milk for her child, she ran with joy and happiness.
The two most bitter scenes in "Mountains and Seas" are completed by Reiza with a smile.
The first scene is that she ran away from marriage and then turned back for her father and married against her heart.
Looking at her sweetheart, although she was in tears and full of grievances, she was desperate.
Laugh.
She is comforting her sweetheart, but also comforting herself - laughing at fate.
The second time, she helped others grow mushrooms, hoping to earn money by investing in shares with labor.
But when others sell mushrooms for money, her husband's yin and yang weirdness says that she is "in vain", and she also thinks that she has suffered a loss.
Until someone else gave her money, she took the money, and in the instant that no one saw it, she rushed to the moon in the sky, and smiled shyly and overwhelmed--grateful for the mercy of Heaven, which made her have a return.
In the face of suffering and laughter, you can really feel the instinctive optimism of these village women.
And then there's happiness. In addition to the collapse of the character line in the later stage, Zhao Liying did make progress before the comparison of this acting skill.
He Xingfu grew up in a poor single-parent family, with good grades but gave up his studies for his sister, and did not marry himself hastily through blind dates until he was thirty years old.
Even so, she laughed a lot.
He Happiness has ambition, but helplessly has no diploma. In order to earn a high salary on the front stage, she repeatedly begged the male owner to consider her.
In the face of rejection, she stuttered eagerly, frowned in doubt, but finally smiled.
Yes, even if the background is bitter, the bitterness and hatred are by no means the only face of the village women.
The more they laugh, the more you can feel their suffering, and the more you want to cry.
Optimism or tenacity.
Village women with low births and bitter backgrounds can also be positive.
In a word.
Village women may have moments when they have no time to take care of them and are forced to do so. But it doesn't have to be ugly, dirty, dirty, or biao.
Village women should not be stereotyped as a vulgar, negative image of women.
They can be shy and restrained.
It can also be comfortable and outgoing.
You don't have to manage your expression and posture, and you nibble on the bun vigorously.
Uninhibited shaking and hooking feet.
When you are sad, you cry hard.
Happy, just laugh.
The village women are rich, diverse, lovely, and full of rough vitality.
Village women should not be flattened or even alienated.
They.
Just us who grew up in another place.
Or it was us.