Wen 丨 Sai people
I forget how Maggie Cheung reacted when she won the Berlin film queen with "Ruan Lingyu" and became the first Chinese to win the highest acting award at the three major European film festivals.
Now Michelle Yeoh's situation adds to the complexity of things, because she is a Chinese from Malaysia, acting in a standard Hollywood movie and winning an Oscar.
In any case, I really hope that those who applaud have always liked Michelle Yeoh herself, not just because of her skin color, her ethnic origin, but her gender, so that these added points exceed Michelle Yeoh as an actress herself.
But this is probably impossible. It is clear that movies are difficult to be truly pure, and awards about movies are mostly not just arenas for acting.
It is both a statement and a proof. It is the statement of attitude, but also the attitude itself. It is safety first, the correctness of the largest area, is to protect the life of Mingzhe in the name of paying attention to the minority and not wanting to offend the anger of the public. These words should be appropriate for Michelle Yeoh, and the same is true for her "Instantaneous Universe". It has the kind of voice that our ever-changing but constant world needs most, a voice that is a cry for the few, the majority, and the voice that the weak are the strongest. At the same time, it also reveals the power of illusion at the right time.
"Instantaneous Universe"
I want to go back to Michelle Yeoh's performance in "Instantaneous Universe". The most interesting comment I've heard is that almost all films about time travel require a magic weapon or passage, such as the moonlight treasure box in "Journey to the West" and the tunnel in "Spirited Away".
But in this film, there is no time machine, only Michelle Yeoh's performance in the elevator.
Yang's performance constructs the psychological realization from "cowardly husband" to "secure husband", completing the jump from "reality" to "another universe".
I agree with this narrative and wary of what it entails. Performance can start from the concept and return to the concept, but it cannot be a product or slave of the concept.
The first thing in the performance is to present the state of the person, it is a conscious depiction, and it is necessary to have a subconscious transmission. Michelle Yeoh's performance this time can be seen from the difference. But one thing is certain, her body, eyes, and body techniques this time do not have to be learned, let alone imitated.
Just like Hu Jinquan's movies are all about drama, and his brother Li Hanxiang's movies are all about being a person.
Speaking of which, Michelle Yeoh is still making a play, and there is no praise or disapproval here. Just like a single appearance in Peking Opera, it is also necessary to eat that little effort thoroughly, in order to calm the scene, so that all eyes can be moved to their body.
Like many people, I started from action movies and gradually became fascinated by Hong Kong films. Many years ago, I predicted that Michelle Yeoh would go further than many female stars in the same period, such as Li Saifeng and Yang Panpan. Because she not only talks about body shape and spelling in action movies, she also has a look that other action actresses do not have.
I remember in "Super Police", as soon as Zeng Jiang saw Jackie Chan and Michelle Yeoh, he didn't lift his eyelids, and he wanted to kill them. It's not that Jackie Chan showed his horse's feet, but no matter how simple his clothes are, it is difficult to hide the nobility on Michelle Yeoh's body, not like running rivers and lakes, more like mixing in a broader world.
"Super Cop"
Michelle Yeoh's grandfather was Malaysia's "traffic king", her father was a lawyer by profession, and later he was canonized as "Dato' and served as the chairman of the Malaysian Sports and Leisure Club. She herself began studying ballet at the age of four and eventually entered the Royal Academy of Dance in London. But after a back injury, she ended her ballet career and became the Michelle Yeoh we see today.
In general, Michelle Yeoh is not entirely flexible in a series of action films, competing with top action superstars such as Sammo Hung, Jackie Chan, Jet Li, Zhao Wenzhuo, Donnie Yen and so on.
It is a style, a kind of jade tree wind unique to women. A kind of bamboo in the chest, not in a hurry and with the charm of the arrogance.
Other female stars are often reduced to a kind of embellishment, a decoration, even Zhang Ziyi kills, but Michelle Yeoh can become a landscape of its own.
But it must be pointed out that Chinese action films, that is, its two most important branches: martial arts and kung fu. They all write about people, and they don't put too much effort into it, which cannot be compared with Japanese sword and halberd tablets. Most people who flaunt their might are facetious, both for men and for women.
A little better is Ang Lee's "Crouching Tiger, Hidden Dragon", the original work itself has the style of literati martial arts, and it discusses the tug-of-war between reason and emotion, which is a difficult topic to be outdated.
Michelle Yeoh performed Yu Xiulian's cave and hidden and hidden, but whether she performed the desolate background of the characters is still two words.
Michelle Yeoh has idol baggage, and she is still willing to show us her most beautiful side. Anyway, I can't see desire in Michelle Yeoh's elegant and idyllic face.
"Crouching Tiger, Hidden Dragon"
Therefore, in this regard, it is difficult for her to compete with such performers as Maggie Cheung, Xiao Fangfang, Anita Mui and Yip Dexian.
All of the above can perform the most natural conditioned reflexes, and can show the true colors of people who want and want very flexibly.
But interestingly, in To Qifeng's "Three Heroes of the East", actors with first-class acting skills such as Maggie Cheung and Anita Mui are not as quiet as virgins and moving like rabbits, and they are more worthy of such a post-apocalyptic situation. Because these two are still acting, and Michelle Yeoh only needs to stop there, it will become a vague era of its own, a non-existent time field.
This can also receive such a miracle in another film "Song Family Dynasty" that she collaborated with Maggie Cheung. I admire Maggie Cheung so much, and I wonder what she won the Hong Kong Film Awards actress. And Michelle Yeoh can freely move through those prescribed situations with her prescriptive movements alone.
"Song Family Dynasty"
Michelle Yeoh's face has an extremely focused ascetic color, like a lotus flower, which can only be far-sighted and cannot be profane. Therefore, she can play Soong Ailing, and she can also play a political figure like Aung San Suu Kyi who can be active in the public eye. People are as pale as daisies, falling flowers and speechless to enjoy the attention of everyone.
Fortunately, Michelle Yeoh began to release her pyrotechnic gas in "Instantaneous Universe", she not only moves in multiple time and space, but also operates in multiple identities, and she has to perform her different states in front of various people.
It is said that Michelle Yeoh contributed the most authentic and appropriate performance in "Akin" directed by Xu Anhua, but Michelle Yeoh, who has a good family and has always been smooth, has never mixed at the bottom. She just obeyed Xu Anhua's downplayed aesthetic direction, and disguised another embarrassment with a shocking self-esteem.
"Akin"
Far from the exaggerated variant of "Instantaneous Universe", it can cater to the uncontrollable appearance when distorted by time itself.
In a word, those who are rich and noble like Michelle Yeoh, elegant like Michelle Yeoh, cannot play real tranquility. She can shine in her comfort zone, which in turn makes the entire screen shine, which is enough.
I also want to say that Bruce Lee can be internationally prestigious, "Crouching Tiger, Hidden Dragon" can win the Oscar for foreign language films, Jackie Chan can win the Oscar Lifetime Achievement Award, and the box office of "Heroes" and "Kung Fu" in North America, including Michelle Yeoh's infinite scenery this time, is still Chinese Kung Fu rampaging in various time and space, as if to illustrate that the most recognized Chinese-language film by Lao Mei is still an action movie.
In recent years, the creation of Chinese films in this regard can be said to have fallen into the trough of the trough. I believe that the rewriting of the so-called history of "Instantaneous Universe" does not constitute a reminder to the filmmakers on our side at all.
Is this the so-called "cultural consciousness" that many people expect to achieve?