In the awards season hit "Girl with a Bright Future", many viewers said that time has left a clear mark on Kerry Mulligan's face. But she didn't care about that, like she never minded complaining about herself.
She would google her name, then regret it, swear never to do such a stupid thing again and tell the world, repeat the above action six months later, and finally tell a reporter all this at a fast pace.
She hated her performance in "The Great Gatsby", tired of always acting in period dramas, but she would quickly punch herself in the face after seeing good scripts like "Dirt Boundary" and "Discovery". "Imperfect things can be beautiful."
Although most of her characters are not from contemporary times, they are truly "modern women", as Mulligan himself said: "They are ahead of the times." ”
In Far Away, Hardy's Bassheba has a modernity that transcends the times, she does not rely on men to survive, nor does she reject the possibility of love, but love must be loyal to her heart. As a result, Kerry Mulligan, who once decorated the banquet in "Pride and Prejudice", also has his own independent female image in the British literary classic.
"Away from the Hustle"
Women Suffrage tells the story of women's struggle for the right to vote in Britain in the early 20th century, and although the theme is valuable, it is like a propositional essay, which is difficult to shine. But Kerry Mulligan gives the ordinary washerwoman Maud a human touch, making us realize that before she becomes a fighter, she is first and foremost a woman who has been tormented by an unjust fate for too long.
Women In Politics
And the same ordinary women who are wrapped up in the tide of the times, the collapse of the family, Mulligan gave a completely different answer in "Wild Life". If "Women in Politics" is a plain and clear sketch, Mulligan in "Wild Life" boldly applies a rich and delicate expression detail, and his eyebrows are all preludes to the turmoil of the sixties.
Wild Life
In "The Girl with a Bright Future", Mulligan knocks on the side, interpreting the protagonist's inability to break free from the shadows and fight against the psychological aspects of the entire society. Without the exhilarating revenge exploitation, her performance focuses more on the complex emotions of resentment and forgotten weightlessness. Fennell's ending gave Mulligan's performance a huge echo: you can't tell who wins and who loses, leaving only a roar that can't be shouted.
"The Girl with a Bright Future"
Archaeologists rooted in the grassroots, sick widowed wives, pre-war, ancient ruins, Xi Shaohua is easy to pass away, and it is full of emotions and etiquette. The perspective of "Discovery" can be large or small, it can be understood as a secret of time, or it can only be related to a love that is about to leave. The film "discovers" the new charming temperament of the aging Mulligan.
"Excavation"
Time flies, and the sweet sister of "Growth Education" that we used to know, Kerry Mulligan, seems to have become the best example of independent women in the blink of an eye — after rebelling against herself again and again.
Recently, Kerry Mulligan and Variety magazine had a bit of an unpleasant affair.
Commenting on Girls with a Bright Future, Variety magazine dismissed Mulligan as a "strange choice" to play the role, and that "given that Margot Robbie was the film's producer, one might think (and most likely) that the role was originally for Robbie."
Mulligan was always honest with the media — or at any time — sometimes even a little too honest. As big as the panic and pain of facing the magnesium lamp in her early years of fame, to being bitten by a rabbit at home, she can face the reporter and talk endlessly.
Even if this bit of a spit lawsuit is not worth tearing up in the eyes of many people, it is precisely because of the sincerity of the interaction that she cannot stand the prejudice of the media – especially the prejudice against women.
She pointed out that the remarks were nothing more than a suggestion that she was "not sexy enough" and that Casey's revenge plan in the film was not convincing enough. And she couldn't accept the media's flippant criticism of an actress's appearance rather than talking about the art itself: "Comments should be constructive... It shouldn't have anything to do with your personal preferences for actors' looks. ”
Mulligan has always opposed the stereotyped female screen image, and she has always been harsh in her selection of films, and in recent years, she has paid special attention to the independent personality of the role.
Whether it is the feminist propositions of "Women Suffragette" and "Girl with a Bright Future", or "Drunken Folk Songs", "Far from the Hustle", "Dirt Boundary" and "Excavation", which restore the face of an era, the roles she chooses can often reveal the deepest personality and psychology, and some are even less acceptable.
It's like the moment in the middle of the road after Kathy smashes the car window in "The Girl with a Bright Future" loses control, and it is uncomfortable. Because of this, the non-powdered styling is only the root of these characters that should not be noticed.
"Why does every woman who shows up on screen have to look like a supermodel?" Understanding her harsh demands on performance, you can understand why she raised such questions.
However, the actor Mulligan's self-pursuit and the expectations of others for her seem destined to be misaligned.
The Coen brothers have revealed that they chose Mulligan to play Jane, who is unhappy with the whole world, precisely because her temperament is not suitable for this role: "Everyone always seems to like her, and for the actor, this can sometimes be a burden." 」 ”
This sentence seems to have become a proverb that has permeated Mulligan's entire acting career, making her submit to this love again and again and rebel again and again.
The Great Gatsby
Audiences like her sweet or dreamy appearance in "Growing Up Education" and "The Great Gatsby", and the industry likes her soft and light appearance and the chemistry of the times drama, such as "Growth Education" and "Far Away from the Hustle", and also likes the side of her temperament that fits with the fragile and fragile female figures, such as The clone Kathy who is forced to wait for life to wither in "Don't Let Me Go".
However, since "Drunken Folk", Mulligan has rarely chosen these "flattering" roles, and she has repeatedly "betrayed" her early acting style, which is rich and varied, and has also gnawed a lot of hard bones, although these roles are not all so dazzling.
In the TV series "Collateral Damage" and the film "Dirt Boundary" and "The Girl with a Bright Future", Mulligan has also worked with female directors many times, and she believes that a more free dialogue atmosphere with female directors on the set is helpful.
"Collateral Damage"
When it comes to her personally, Mulligan is always willing to share some interesting things about life, but he is secretive about the topic of privacy gossip.
Mulligan is always reflective in the process of completing her role, and she never hesitates to be honest in her self-analysis in various interviews. When it comes to "The Great Gatsby," she admits that she may have been a little intimidated by the scale of the film and was not satisfied with the performance at the time, and that "Women in Politics" made her re-examine her right to vote.
In 2018, Mulligan challenged the 90-minute single stage play "Girls and Boys", facing the audience's confession and the appearance of family life under pressure, and Mulligan, who has become a mother, contributed a wonderful one-man show and completed a serious examination of marriage.
Theater was Mulligan's original dream, and she still remembers the excitement of the 21-year-old when she first starred in "The Seagull" on Broadway, especially the line that faced the audience alone: "I am like in a dream." ”
Mulligan, who constantly changes himself, is still the most faithful to his original intention.