At five o'clock in the morning, the plane landed, and the winners of the 74th Venice Film Festival have just been released. "The Shape of Water" and "Fox Dance Steps" are highly anticipated, and newcomer director Xavier Legrand's "Pour Out All" is a hit. The competition for best actress is the fiercest, and there are three candidates for the Oscar alone. But the end result was deeply rooted in my heart, 71-year-old Charlotte Rampling beat the leading film group of her big cousin Jennifer Lawrence to win the best actress award of the night.
Charlotte Ramplin won the Best Actress Award at the 74th Venice Film Festival
Luckily, I watched only one red carpet during the entire Venice Film Festival, which happened to be Charlotte Lampling and her entry, Hannah.
The red carpet has always been a place where female stars and actresses compete for glory, regardless of age, regardless of acting skills, everyone is inevitably vulgar. But the "Hannah" crew seems to be an exception, it is the most grounded red carpet catwalk I have ever seen, it is simply Grandma taking a few silly children and grandchildren out for a walk.
Ramplin appeared in a black suit, black leather shoes, black trousers, a white legging under a black trench coat, and a black bag (for vegetable money) in his hand - this is not a simple dress, but a dress.
Charlotte Ramplin red carpet photo at the 74th Venice Film Festival
When watching the movie, she casually put the black handbag on the ground, and when the screening ended and accepted everyone's cheers, she also forgot about the only decoration at one point, and stood for half a day before bending down to pick it up. After nearly ten minutes of applause, the audience was impressed by her acting skills and did not want to leave the scene for a long time. Fortunately, everyone gave her a long enough time to look around, otherwise the poor bag would be abandoned.
Let's talk about the movie "Hannah", which put her on the throne.
It's a movie that doesn't fit the habits of the vast majority of people, it has almost no story, just emotions. In the first ten minutes of the movie, except for a word of greeting with her husband, the heroine Hannah has almost no lines. Calm details of everyday life take up high-saturation footage under all 35mm cameras.
Stills from Hannah
At the beginning, Hannah stands in front of the camera to do vocal exercises, which is her weekly troupe experience class, which is the only group that hosts her.
The second scene moves to Hannah's house, where she has dinner with her husband, there is no communication the whole time, the light bulb is broken, Hannah is motionless, and the husband silently repairs the light bulb and continues to eat and rest. When hannah and her husband solemnly dressed and went out together, the camera turned again, Hannah's husband was gone, and she was the only one who came home.
The audience doesn't know what's going on, and the director doesn't bother to let the audience understand, and he doesn't give an answer until the end of the film. The post-80s director Andre Palaolo has always been emotionally delicate, and he prefers to use the lens to capture emotions than to tell stories. He built a platform for the heroine Lamplin to portray Hannah's loneliness in it.
No one knows what crime the husband committed, but it is probably about morality and ethics, which also humiliates Hannah. The strange woman came knocking on the door to have a "mother-to-mother conversation" with Hannah, hannah did not dare to respond, and the expression on her face ranged from calm to shame and finally to desolation. After her husband left, the family dog began a hunger strike, and she had to give up custody of the dog and give it away. The family was also far away from her, she made a cake, went to the rich area on the other side of the city to celebrate her grandson's birthday, and as soon as she walked to the door, the son stood up and stopped, unceremoniously saying "you are not welcome." The public domain didn't let her go, she went swimming and was told by the staff that her membership had been canceled.
She still attends classes in the troupe and occasionally goes to see her husband, who has brought her misfortune. She was cleaning at a rich man's house, and the little boy was almost the only one who had some emotional involvement with her.
The cinematographic perspective of the film is depressing. The oval mirror refracted the half-empty double bed, and Lamplin's small figure was either blocked by the foreground of door frames, columns, tables and chairs, etc., or placed in the corner of the picture. The more Hannah in the movie tries to keep her life normal, the more she pushes herself to the brink of life.
In such an external environment, the sense of proportion of Lamplin's performance is really enjoyable. She has an elusive face, and you never know which side she'll take the emotions of the movie to the next second. For the most part, Lampling incorporated loneliness into her silent daily life, eating, washing, attending classes, and working as usual. The audience expects an emotional breakthrough. When Hannah sits at the table and nervously dumps the contents of her handbag on the table, you think you've waited for the moment when your emotions explode, but who knows, it's just a performance exercise. This similar expression also appeared in another female-themed film, Sils Maria, where the text and plot were intertextual and the emotions were constantly switching.
When the audience felt that the movie was about to end in the wash, Lamplin suddenly collapsed on the toilet, crying and his voice changed shape. This may seem misplaced, but it's especially plausible, and true repression or grief will always burst the embankment when you're least defensive.
Finally, Hannah took a long ride to the beach to see a whale that had run aground and died, and the sense of powerlessness and loneliness of life seemed to find a reflection in the behemoth.
"Hannah" is not a film with commercial potential, artistically good or bad, but Lampling's performance is absolutely flawless, just like she was in "45th Anniversary" two years ago. Luckily, this time, the best actress favored her.
In addition, Charlotte Lampling is also a late actress. Born in England, she has a strong hand and is highly regarded for French and Italian aesthetics. She is beautiful, intelligent, well-off, never doubts her charm, and in 1966 she went from an advertising actress to a movie star with "Georgie Girl".
Stills from "Giorgie Girl"
However, the beauty that has been precipitated by the years is by no means so readily available. A few years ago, I inadvertently bought a movie CD," the documentary "The Look:The Look," which gave me a deeper understanding of Ramplin and the more than sixty years that made her.
Gaze: Into the Charlotte Ramplin poster
When Ramplin was in her early 20s, her sister Sarah committed suicide due to postpartum depression, which left a lingering shadow in the sensitive Lampling's mind, just like Hannah, Ramplin struggled to maintain order in life, but this shadow and her ex-husband's betrayal still pushed her into the abyss. In the 1980s and 1990s, she was plagued by depression and her acting career was almost stagnant, only to slowly ease in the late 1990s. In early 2000, she took over the film "Swimming Pool" by French director François Oujon, and the heroine's name was changed by her sister Sarah. In that film, Lamplin officially bids farewell to the gray life of the past, a road of self-redemption that she has walked for more than thirty years.
Ramplin, who came out of the shadows, is in her fifties, but that doesn't stop her from becoming the darling of the big screen again. After the age of fifty, Ramplin has acted in more film and television than in her previous thirty years combined.
Stills from "45th Anniversary"
She was completely free, free both in life and in her performances. At the age of 54, she is still beautiful and elegant in Ou Rong's film "Under the Sand". At the age of 63, she played nude art at the Louvre. At the age of 69, she was nominated for the Oscar for Best Actress for "45th Anniversary".
At the age of 71, in the lens of the young Man André Palaolo, Ramplin is once again naked without scruples, with sagging breasts, wrinkled skin, a tired face, and the traces of age that an elderly woman should have.
But it's a miracle that she retained her sexiness.
(Image from the Internet)
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