#娱评大赏#
The fire lit by Li Min became more and more prosperous.
In a 9-minute recording, she angrily denounced the shady scenes of the "The Voice of China" program group.
Subsequently, more and more students and stars spoke out in support.
Netizens also asked the program team to apologize and rectify.
However, when the crowd was angry, a harsh comment caught Xiangyu's attention:
"Can't be because Li Min committed suicide and died, so everything she said was right."
"People with serious mental illness tend to be more paranoid... Opinions are not always expressed fairly."
On the surface, it is a reasonable customer.
In fact, it is leading people to think: Li Min has a mental illness, so her words cannot be trusted.
However, this argument is untenable.
Not to mention that Li Min suffers from depression, not insanity.
"The Voice of China" has been exposed to scandals many times long before Li Min angrily denounced.
Could it be that if Li Min didn't speak up, these shady scenes wouldn't exist?
Shouldn't a national program accept the supervision and accountability of the public?
This view is not only emotionally difficult to accept, but also suspects of diverting the focus.
Ironically, such accusations are familiar.
The easiest and most effective way to suppress an dissident is to label her as a "crazy woman".
This practice has existed since ancient times.
An old domestic film recently discovered by Xiangyu tells the story of a "crazy woman".
The perspective is avant-garde, and the lineup is also extremely luxurious.
But it is rarely mentioned.
Today, let's take a look at how "crazy women" are made -
The Last Queen
The cast of this movie is very strong.
Director Chen Jialin, representative works "Kangxi Dynasty" and "Wu Zetian".
Jiang Wen starred in a movie for the first time, playing Puyi.
and Pan Hong and Fu Yiwei, the two goddesses, played opposite each other.
And the "crazy woman" in the movie refers to Wanrong.
Her tragic fate has recently been reinterpreted by many online.
Many film and television works have been filmed with Wanrong, but most of them tell stories from the perspective of Puyi or God.
And this one is quite unique.
It tells the history of Puyi's establishment of the puppet Manchukuo.
But from the perspective of Wanrong, it revolves around her and Puyi's love life.
And in the whole movie, the most memorable thing is Pan Hong's melancholy beauty.
As we all know, Wanrong is a tragic character.
But she was once coquettish.
When sitting on the swing, he specially ordered the guards to swing the swing a little higher.
It's totally girly mentality.
When getting married, he will also secretly lift the hijab.
Look out curiously.
But under the gorgeous wedding, it was the breakdown of the marriage.
She originally loved Puyi.
Even willing to sacrifice everything for Puyi.
"Safeguarding your interests and dignity will be my greatest wish."
When I thought that Wen Xiu was divorced because he wanted to compete for favors.
She chose to tolerate.
Offered to move away by himself in exchange for the embroidery.
Unfortunately, this idea was not understood by Puyi.
Instead, Pu Yi accused him of "intervening in things that should not have been involved".
Her full love in exchange for only Puyi's cold treatment and disgust.
In this case, the mode of getting along between the two is not like an ordinary couple at all, but more like a leader and subordinate.
As an empress, Wanrong has always been imprisoned, and her actions are restrained.
Even going out to see Puyi's face.
If you disobey the order, you will be punished and beaten to the board.
And she will also experience a "layoff storm".
When Puyi traveled to the northeast and established the puppet Manchukuo.
Wanrong was directly abandoned by Puyi and left alone in Tianjin.
Although she eventually went to Tohoku with the help of Japanese officers, she was still very sad.
In this unequal marriage relationship, her love is worn out little by little.
And what is even more unacceptable to Wanrong is sexless marriage.
No matter how hard she tried, Puyi's sexual impotence could not be improved.
Once, when playing the piano with Puyi.
The atmosphere between the two gradually became ambiguous.
Just one eye can draw wire.
After that, when drinking together.
The leather band tied with his hair was taken off by Puyi and stroked gently.
The connotation is self-evident.
Although Wanrong did not say a word, she kept staring at Puyi gently and tenderly.
But lust has been revealed.
Unfortunately, until the end, Wanrong did not get what she wanted.
She felt resentful because of this, showing one of the few aggressions.
Dropped the cup and looked at Puyi with a mocking face.
Let Puyi leave.
After that, she calmed down again.
Vent your worries by pressing out the candle.
Such a graceful look is quiet and beautiful.
She didn't yell hysterically or shed tears from her injuries.
But not to accept the husband's sexual impotence.
In her can see the withering of desire, which is the ultimate core of melancholy beauty.
The mention of Wanrong always reminds people of the famous scene in "The Last Emperor", where Wanrong eats lilies in tears.
But unlike the sadness of "The Last Emperor", this "The Last Empress" highlights the madness of grace.
After the establishment of the puppet Manchukuo, Puyi went to see the emperor alone, and she was once again abandoned.
Wanrong was completely disheartened and chose to cheat with the guards.
She is also pregnant with the child of the guard, intending to give birth secretly.
It was one of her few happy times.
But this could not hide Pu Yi's eyes at all.
After being discovered, Wanrong was punished.
His forehead was smashed and bleeding by Pu Yi with a stool.
He was also kicked and beaten in the stomach.
And because she no longer loves Puyi, Wanrong does not have the weakness and tolerance she had before.
She pinched Pu Yi's weakness for fear of losing face, and forced Pu Yi to promise to let go of her lover and give birth to a child.
Want to rebel against the feudal forces behind Puyi.
But unexpectedly, Puyi backtracked and secretly sent someone to kill his lover.
The child was not saved, and he died at birth.
This was a huge blow to her.
So, Wanrong went completely crazy.
Don't eat or drink every day.
More and more neurotic, treating dolls as their own children.
And in the palace, such her status plummeted.
He was even bullied by eunuchs and slapped.
Brings out the sadness of graceful fate.
And Pan Hong shows the transformation after Wanrong went crazy vividly.
When the nobleman played by Fu Yiwei asked her for peace.
She didn't know why, opened her eyes, and asked "who" curiously.
It seems very innocent.
After seeing the person coming, he suddenly resumed his dignified demeanor.
Straighten your back and order the palace maid to serve tea.
As if she was still the last queen.
But then I became unconscious because I saw the cake sent by the nobleman.
After indiscriminately loading a handful of it, he sat directly on the ground and ate it.
He also glanced at the nobleman cautiously.
She pinched her graceful demeanor and eyes.
This made many netizens impressed by Pan Hong's acting skills and completely ignored Fu Yiwei on the side.
And this movie is not just about gentleness.
It was originally called "The Last Empress and the Imperial Concubine", and through the fate of Puyi's four wives, it jointly accused the oppression of feudal rulers.
Tan Yuling, played by Fu Yiwei, was originally a middle school student.
But because Puyi did not want to marry a Japanese wife, he chose her as a nobleman.
Her fate was completely disrupted.
But she never forgot her country's hatred of her family.
When Pu Yi asked if he had seen Meng Jiang Numiao.
Instead, she gave an unexpected answer.
"Look at the temple, there are Japanese Chinese everywhere."
He would also secretly pick up revolutionary leaflets on the street.
But unexpectedly, the scene of her holding the flyer was filmed.
The photo was also passed to Puyi's hands.
This made Puyi very angry.
She was punished for this and abused with her fingers clipped.
Being in the deep palace, you are destined not to do what you want to do.
In this case, whether favored or unfavored, it is a tragedy.
And these wives understand each other.
When he went to ask Wanrong for peace, the nobleman did not feel dirty, but patiently accompanied Wanrong.
Feed Wanrong water.
And although Wanrong was crazy, she still saw through the nobleman at a glance and was not happy in the palace.
"You're still a kid. Who will bully you again in the future, you come and tell me. I'm still protecting you."
This made the nobleman lose control of his emotions and cry with a graceful face.
And their fates are interconnected and echoing.
It's like the end of the movie.
In order to force Puyi to marry a Japanese wife, the nobleman was killed by Japanese officers and a grand funeral was held.
But the crazy Wanrong thought it was her wedding.
In the midst of mourning, put on the crown with joy.
At the same time, another immature girl entered the deep palace.
The fate she will face is self-evident.
Such a pattern has long transcended the level of palace fighting and female competition.
It's just a pity that this movie has a bumpy fate.
Because it does not match historical facts, a third of the plot was cut.
So, now it seems that the plot is very fragmented.
It has only 6.8 points on Douban.
But it made the graceful actor Pan Honghuo go abroad.
At the first Damascus International Film Festival, Pan Hong won Best Actress.
Her representative melancholy eyes were designed into a huge poster by the French publisher Gaumont.
Posted on the Champs-Élysées in Paris to create momentum for the film's overseas release.
In one fell swoop, it set off a "queen's fever" in France.
It is also this movie that brings out a strange relationship in film history.
At that time, French director Godard was looking for actors for a biopic of a film history star in preparation.
But it is difficult to find the right actor to play the screen goddess Greta Garbo.
This iceberg beauty does not show a smile, her mystery, melancholy, and has a timeless attraction.
Unexpectedly, after Godard bumped into the poster of "The Last Queen", he saw Pan Hong at a glance:
"This is the Garbo I want."
Even if it is an extremely bold idea to have an Easterner play a Westerner.
But he still sent an invitation to Pan Hong, and prepared a plane ticket and visa for her to France.
Unfortunately, Pan Hong was unable to make the trip because the filming of "The Last Nobleman" directed by Xie Jin was overdue.
Taken from Pan Hong's diary memoir "Pan Hong's Monologue"
In fact, Pan Hong has always been one of the most internationally loved Chinese actresses.
In the early 80s, she brought her works on the Cannes red carpet earlier than Gong Li.
He was also named one of the world's top ten movie stars by Japan's "Movie Shunbao".
Why Pan Hong?
In addition to her face with both Chinese and Western beauty.
The more important reason is that her works are very advanced.
"Bitter Laughter", a sharp satirical look at the hypocrisy of the media.
It is not out of date now.
"Man to Middle Age" focuses on the stress and dilemmas of residents.
After 37 years, the criticism of the system is still thought-provoking.
Pan Hong always plays a woman trapped in the system, insulted and damaged.
Not only that, they have awareness of their own predicament, and they also have a more or less sense of resistance.
So even in the past few decades, these characters still have a present.
"The Well" predicted in advance the marriage that has long been unsustainable under the "divorce cooling-off period" system.
The wife played by Pan Hong has to work, manage the housework, and have children.
Although he had the intention to divorce, he was forced by the mediation and persuasion of the neighborhood committee, so he could only compromise and make do with his life.
Because she did not obey her husband, she was fabricated with yellow rumors, slandered and cheated and labeled as a "slut".
In "The Last Empress", Wanrong is imprisoned in the cage of patriarchy and imperial power.
Whether they fled the palace or from marriage, they all ended in failure.
Mourning is greater than death, and Wan Rong, who failed to resist, was placed under house arrest, abused, and became addicted to drugs, and ended her life early.
Wanrong, who was driven crazy, was only one of the countless women who were sacrificed in that era.
"WOMAN TAXI WOMAN" IS EVEN MORE DARING.
In the film, Pan Hong "went crazy" again.
But unlike the gentle rong who turned to tragedy in repression, this time it was a more complete rebellion.
After seeing the miasma of the academic circle, she chose to leave the system and embark on a journey to find herself.
Mutual redemption with the driver played by Ding Jiali, known as the Chinese version of "The Last Flower".
They use the spirit of untaming to destigmatize "mad women" and replace them with a new meaning of women's liberation.
But what makes Xiangyu sigh is that now, Pan Hong can only play the most stereotypical type of mother image.
The avant-garde and bold screen goddess has become an "evil mother-in-law professional".
It's either beating Mandarin ducks or urging marriage to spawn.
From the queen mother of "Seven Fairies of Joy" to this year's new drama "Warm and Sweet", she is all evil mother-in-law.
Of course, there will be those who say that this is a personal choice.
But it cannot be denied that it is also forced to helpless.
When the two women-themed films "Woman TAXI Woman" and "Single Woman" were criticized.
Pan Hong could not withstand the blow and fled away.
"I don't think I'll act anymore. If you don't act, Chinese movies don't depend on me alone."
When living in Japan.
Her life is leisurely and she is not short of money.
"Shooting only two commercials at Kurosawa's photography studio pays more than shooting dozens of films in China."
But in the end, I couldn't give up the movie and decided to come back.
She has been holding on.
It's just that because there is no good script, I rarely make movies.
And now, the reason for only homogenizing roles is the same.
And looking back at Pan Hong's acting career.
When she first debuted, she played a middle-aged woman.
At the age of 28, he played his mother in "People to Middle Age".
But it didn't affect her theatrical path.
It still creates female characters of different ages, different identities, and different personalities.
This undoubtedly proves that the artistic life of an actress is not limited.
Domestic entertainment should also give them more opportunities, rather than restrictions and suppression.
Compared to the same beautiful dummy.
Unfettered "crazy women" are what we need more.