Many people think that the value of Elizabeth Moss is that she has created heroines, but the value of these heroines lies in their situation of having to be heroes.
Their courage and the evil of the environment are two sides of the same coin. She had never played Miss Perfect, or even had many roles that were too fateful.
It takes them several times more strength to be able to be successful people or ordinary people, and even, after exhausting their strength, they still end up with a tragic end.
They may not have had sweet fantasies about the world at first, but none of them became princesses. Fortunately, most of them still have the strength to earn for themselves.
<h1 class= "pgc-h-arrow-right" > princess dress disillusionment</h1>
In 1988, elizabeth Moss was six years old and came to act on the set for the first time.
It was in the miniseries Lucky Chance (1990) where she played Sandra Bullock's daughter. The little girl wore a puffy skirt, smiled sweetly, was surrounded by children, and blew out the birthday candle.
However, in the ensuing scene, she is on the balcony of a palace-like house, holding a doll, looking at her mother in the pool from a distance, screaming excitedly, looking still full of sweethearted little princess.
But when she shouted and went down the long stairs and approached the pool, she only saw her mother lying on the floating life raft, the corners of her mouth were bloody and lifeless.
The corners of Moss's frantically raised mouth slowly skimmed down, first whispering "Mom" and "Mommy", and finally screaming uneasily.
Many children may fall in love with the ability of movies to make dreams because of the previous scene, but Moss is fascinated by acting because of the latter scene.
Later, she did not remember whether she was willing to perform at first, but after performing this scene of seeing her mother's corpse and needing to sharply mobilize complex feelings, this six-year-old child began to seriously consider his acting career.
In other words, those dream bubbles on the set did not impress her, but the dramatic tension that could not be a princess, and the conflict emotions that came with it, nailed her heart.
We call the kind of words that are casually said and actually fulfilled called proverbs, and this accidental act of not being a princess is probably a "drama", who knows that in the future, even if Moss can play heaven and earth, the play is a princess who can't do it one by one, and has to bear more heroes of the day after tomorrow.
< h1 class="pgc-h-arrow-right" > soap opera B side</h1>
Some people may have to ask, an Elizabeth Moss who played "The Handmaid's Tale", I am afraid it is not rare to be a princess, right? Non also.
In this year of encouraging machos to cry, it is no longer appropriate to limit a person to a specific cross-section. Moss is both a fearless hero and a little princess in his heart.
She grew up practicing ballet and grew up in an atmosphere where her parents were musicians, surrounded by jazz and blues atmospheres. Yes, she grew up loving movies, but the type of love is not unfathomable, and the one she sees the most is romantic comedy.
[When Harry met Sally], she watched it "a trillion times"; needless to say that she had always gone to the videotape shop to rent chick movies like [BJ's Single Diary] since she was a child; and now that she was acting in a difficult drama, she had to find something to distract her attention, and also watched soap operas like [New York Wives] to escape from a difficult job.
It's hard to imagine that a Moss in a handmaiden's red cloak might also watch BJ and Mr. Darcy get together and cry until his nose is congested. But who is 100% hard or 100% soft?
[When Harry Meets Sally]
As a teenager, Moss decided that at this age, he should give up dancing and concentrate on his acting career for the long term.
The story of the princess putting on the knight's armor also began.
In 1998, at the age of 16, she played a disfigured crazy girl in [Soul Shifter Girl]. Her role was not much, but later recalled, people asked her, facing winora Red, who was already a legend at the time, and playing with Angelina Jolie, who would become Laura in the future, with an amazing aura, was she afraid? The answer is no timidity.
She laughed, flinched, screamed, and cried, not a brilliant scene, and completed steadily. This character is well-behaved and silent, has a low sense of existence, is easy to be happy and easy to be afraid, and always speaks like begging for someone to pay attention and love.
Maybe people who have seen this movie don't remember much about her existence. But this is exactly the meaning of the character's title, without the beauty and sanity of Princess Winora's eyes, nor the leadership temperament of Queen Julie, she is just an ordinary girl who can't be a princess, and she can't be a madman and makes people forget it in the blink of an eye.
This character, probably in her "Diary of a Princess Can't Be a Princess," is a wedge.
<h1 class="pgc-h-arrow-right" > big heroine "accidental"</h1>
And the first brilliant chapter, of course, is "Mad Men".
But when the first season of 2007 first came on, not to mention the audience, even Moss himself, did not expect peggy's role to go that far.
When she first appeared, she combed a word of bangs, a full of workplace rookies, and learned to tinker with typewriters in the era when women had just come out of the family and entered the workplace. Not only that, she broke into trouble the first day of work and let idlers enter the office.
Who knows, Peggy has slowly become the most complete and eye-catching character in the whole drama.
She went from a small secretary to a big man who sat on an equal footing with her predecessors in the advertising industry. Moss called her a "casual feminist."
She may not know so many gender equality theories, nor will she analyze the macro gender situation from a high level, but with the belief that everyone is born equal, she believes that she is not inferior to the guys in the office who wear suits and ties.
In Moss's view, she accidentally learned that women do the same job and get less salaries than men, so she was puzzled to ask for a raise, maybe she did not have the concept of gender equality in her mind, but naturally felt unfair. In that era, she was stunned to have laid a world on the battlefield of men.
Such a Peggy, finally got rid of the small transparent situation in [Soul Transferent Girl] by her own efforts, but naturally she could not be a princess who sat back and relaxed, and she really did not want to do so.
The seventh season of 2014 announced the end of the season, and Peggy's character story can only be said here, otherwise, she would have to fight on the screen for a lifetime.
Moss said he would always be proud of Peggy and Mad Men. Even if it is placed in the entire American drama circle, a character has such a surprising growth, the plot is not bad, the main creator does not jump the ticket, although it is not rare, it is also a rare thing.
In particular, Moss's favorite scene can highlight the advantages of American dramas that have grown up with the audience for many years. It was in the fifth season that the boss Don showed disrespectful attitude in a hurry, although he was well-intentioned, finally broke Peggy's heart. Peggy calculated for herself, resigned, and jumped ship to the opposite company.
In that scene, she is not humble, and earnestly bids farewell to Tang, thanking him for discovering herself and leading the way for herself, telling him that it is time to part. Don kissed her hand and blessed this honorable opponent.
This is a moment of retrospection, the audience is suddenly evoked by the memories of five seasons, running so many episodes of growth, the accumulated power exploded at this moment. The girl with the qi bangs has already left a short curly hair that is intellectually feminine.
The purple coat Peggy wore during the filming of this scene was also preserved by Moss. For seven seasons, Peggy had so many colorful clothes that Moss kept one.
Because it was at this moment that Peggy, who was still under the protection of his wings, became a knight who was responsible for himself.
<h1 class="pgc-h-arrow-right" > knightly sex turn</h1>
For Moss, Peggy is the kind of character that every actor can't ask for and is ambivalently entangled:
When the audience sees you on the street, they will forget your real name and call you the name of the character; the audience will subconsciously substitute the character for you.
She's your sweetest siamese sister, and you love her, but you still have to have separation surgery to be healthy.
Moss's "separation surgery" is Jane Campion's Top of the Enigma Lake. It may also be from this time that Moss really walked into the climactic plot of not being a princess.
Like the little girl in the puffy skirt she played when she was six years old, her characters have an unfortunate fate, and Ben is also a girl with sweet dreams, so fate forces her to take off her princess dress and put on armor to slay the dragon.
In "Top of the Enigma Lake", she is Detective Robin, trying her best to search for the missing raped girl, find the real culprit, and she is also trapped by the past of rape.
Of course, Robin also yearns for sweetness, otherwise she would not have regained her love with her boyfriend when she was a teenager, but the past full of scars made it impossible for her to be a naïve baby bird waiting to be fed in front of love like nothing had happened.
She wants to save the pregnant girl now, and she also wants to redeem herself who has been hurt in the past. The knight is in the company of the dragon, and the princess can only carry the sword herself.
Even after starring in The Handmaid's Tale, Moss still called Robin one of her most challenging roles.
Just like when she was fascinated by the role of the little girl who witnessed the death of her mother, the reason why she could not give up the role of Robin was also because of her strong and sense of justice, but also because of her sense of chaos and loss of control.
Even, the "condition" for her to star in the second season is that the role of Robin is "darker, more complex, more chaotic" than the previous season.
When she was six years old, the little girl saw the body of her mother, and at this time, Robin saw the stump of her unfortunate past, because of the existence of such a cruel crime scene, facing the world, she could no longer cope with it as calmly and gracefully as a princess.
The princess has no story, it is precisely because she cannot be a princess, only to jump out of the chicken and dog jump or fall apart, to have the tragedy and the struggle against the tragedy, and to have everything that makes Moss fascinated in the center of the performance. And one of the most intense conflicts among them is that fate forces her to abandon her innocence.
<h1 class= "pgc-h-arrow-right" > non-superhero</h1>
During the filming of the second season of "Top of the Mystery Lake", another character forced by fate was sent to Moss. This, of course, was the "Handmaid's Tale" that later made Moss win the prize soft.
At that time, in order to concentrate on "Top of the Enigma Lake", Moss had rejected several books, but the agent still persevered and handed her this one again.
Thanks to the great agent, Moss was upset. She shouted, "Why are you showing me this?!" This is good, I have to study it carefully, how to win and play this role well. ”
In "The Handmaid's Tale", June's life is not blameless. She was a third party to intervene in exchange for a happy marriage.
If in the peaceful and prosperous world, she should spend her life willfully wandering, writing a dog blood soap opera, although it is not in line with the so-called mainstream orthodoxy, it can also be regarded as a kind of princess, which is not uncommon in the entire history of mankind.
But she was in an era of plummeting fertility, a Gilead country that used women as a womb, and the princess could not do it, she could only be a slave to procreation, and then resist and become a warrior.
Another example of being forced to become a great, in the chaotic world, if you want to be an ordinary person, you must first use all your strength to become a hero.
Compared to the realism of "Top of the Enigma Lake", "The Handmaid's Tale" is a dystopian story after a highly condensed reality.
Although, as the original author Margaret Atwood said, all the situations described in her book have actually happened in this world, the intensity of these female sufferings that have occurred in different historical times and places may still make some people feel illusory.
Moss, on the other hand, is the key factor that makes the story believe and make it real.
Bruce Miller, producer and creative director of The Handmaid's Tale, said he fell in love with Moss because of her "extraordinary ability to look like a normal person on screen."
The high conceptualization is the skeleton of The Handmaid's Tale, and Moss gives it flesh and blood. The reason why Moss likes this role is that the heroine is not a hero with superpowers, on the contrary, she was an ordinary wife and mother, but because of the challenges around her, she had to grow into a hero.
The motivation doesn't sound great: "She has an instinct to survive, and she wants to live for the sake of the people she loves." "She likes the character to make bad decisions, to cheat on her husband, and she likes her human touch.
She understands the character in such a plain and honest way, and expresses it even more shockingly.
Moss's power to mobilize real feelings is certainly amazing. Repression, patience, outbursts, disguises, heartbreak, despair, anger, are all empathetic—a power that was evident even in the facial action she was six years old.
During the filming of The Handmaid's Tale, once it came to her close-up part, the director of photography and the camera assistant almost all rushed to shoot themselves, and no one wanted to miss a wonderful shot. And for many moments, the camera is just holding Moss's face, zooming in on all of her expressions.
But Moss would also be afraid.
For some time, she had to stop when she photographed the brutal bridge because she couldn't accept what was going to happen next. Although the performance fascinated her, from beginning to end, was the gray complex of the situation, in essence, "I am not a dark person"
The pain endured by the maid became Moss's frightened and uneasy eyes and trembling movements in the play.
No one, no one should be such a hero, because the pain she fought against should not have existed in the first place.
<h1 class="pgc-h-arrow-right" > queen of the throne</h1>
While starring in The Handmaid's Tale, Moss also served as executive producer.
On the podium of the Golden Globe Awards, she not only won the Award for Best Actress, but also won the Award for Best Drama Series as a producer.
In fact, New York really calls her "queen of the golden age of television"; but when it comes to the producer's profession, she doesn't know much, not in her comfort zone.
Some people also think that actors are not without names. But his fellow producers testified that Moss was doing his best.
The first three episodes of the series were recommended by Moss for director Red Murano. On the set, Moss was always the first to come and the last to go, and after the series was completed, she also began to review the current edited version every morning after eating, and watched each episode no less than six or seven times.
It is said that in the first season, she sent hundreds of emails in order to communicate the details of the film's color grading and editing.
If all of these characters share a common belief with Moss, it is that the princess has never been stable, and it is better to be a princess for a lifetime than to be a princess in comfort and sweat.
She said that after so many years of hard work, it is addictive to have a voice in the industry.
At the same time, her film invitations are also increasing, and the strange female reporter who is entangled with the curator in [Square] competes with the man to throw condoms, so that she becomes a rubber band play, and her eyes are playful and funny, and people can't help but think that the curator suspects that she collects sperm, which is not unreasonable.
[We] are the heroine's friends, and she is also in the predicament of being hunted down and killed by another self, who holds up scissors and tilts his head and laughs evilly, and the scene is probably the heart demon of many people that year.
[Square]
There are also [Earthly Queens], [Skyscrapers], [Her Smell], although these movies either do not have the influence of her starring in the series, or she is only a supporting role in them, but Moss's interpretation is scalp-tingling, and she is not a princess resume, adding a strange but powerful woman.
<h1 class="pgc-h-arrow-right" > pseudo-cinderella</h1>
This year came the extra mile, [The Invisible Man].
She plays Cecilia, a girl from a remote place on the outskirts of the city, who accidentally breaks into the life of a tech magnate and becomes his girlfriend, but this is not a Cinderella story.
Where there are so many Cinderellas, there are more Cecilia who are under the dual control of both physical and psychological.
Cecilia couldn't leave the man, and even when she escaped, she still felt like he was everywhere, and there was an invisible man who was always spying on her, controlling her, leaving her alone.
The small and large House of Brun has made a lot of money this time, and it is not an exaggeration to say that this play is Moss's one-man show.
The thriller of this thriller lies in the "invisible man", physically, you can use special effects to cause the object to move inexplicably, but psychologically, the ubiquitous invisible man needs to be sketched by Moss's fear.
It can be said that Moss is the white face and dry powder that makes the invisible man appear, and along with her various reactions, the invisible becomes tangible.
You can't see the voyeuristic eyes, but you can see the people who are all soldiers because they are being spied on; you can't see the violence of the past, but you can see the mouth that is difficult to lift the past, and you dare not step out of the house.
Moss understands Cecilia's feelings about not being a princess, and why she can't be a princess:
"It's a common feeling, you feel like you're not being seen, you can't make a sound. We live in a patriarchal society, and even if you were to tell a woman's story, part of it would have to be how she lived in a patriarchal society. ”
Still. A small-town girl who thinks she has done Cinderella, but she can't even live an ordinary life. Forced to be helpless, with nowhere to ask for help, can only rely on their own strength, kill all sides, in the direction of the anti-princess, go farther and farther.
When you open the rating website, you may see a very absurd scene:
Some viewers lamented that the heroine's image was not good, ruined the mood of watching the film, and even chased after the "Mad Men" entry under the comments.
Moss really can't be a princess, especially when the definition of "princess" is a delicate and beautiful doll, no matter what she does, how her acting skills are, what she is thinking, and what kind of life she lives.
Of course, the murmur did not prevent Moss from continuing to write in the Princess Diary. She then played a small role in [The French Pie], "Playing Wes Anderson's film is like having a dream that lives in a Wes Anderson movie." ”
She's also a huge Fan of Disneyland, going to disneyland at least once a year with friends, and obsessed with the mysterious Club 33— supposedly the only place in Disneyland where members can enter and the only place where drinks can be enjoyed.
Maybe she couldn't get her wish, after all, the princess who was happy with everything was not so good; but it was also possible that it was the script of fate that wanted her to be a distinguished member who explored the secret place on her own.