article: Yang Zi1
. Fat Aunt
The fat aunt upstairs in my house is an amazing character. If the strong laughter in front of the window in the evening unfortunately penetrated my window and eardrums, it must have been her walking in the corridor. And whenever she danced in the square with other big ladies, her figure and appearance were comparable to the female version of Amitabha, she suddenly became curvaceous, and she was flexible to the illusion that she was reviving the Tang Dynasty. Hu Xuanwu.
However, the fat aunt is not all smooth sailing in life. Everyone who knew her story sighed why her life was so miserable: her early divorce, her husband transferred a large part of her property before the judgment, and she had to move back to live with her parents who had the same bad temper as her physical condition. In order to satisfy the son who likes to compare, he has to save money. Later, cancer was detected. When she was desperate, she turned into a "ground gun" of the Housing Management Bureau. She persisted for half a year with amazing perseverance and obtained a set of keys to the social security housing. She is chanted as "heroine heroine" in the neighborhood, but as her middle-aged best friend, my mother often tells me how she wiped her tears with my mother in private and talked about the sea of bitterness in her heart-everyone When I want to see a "heroine hero", no one thinks how lonely and exhausted she is during the fifteen minutes before going to bed every night.
Of course, there are many women who have endured more pain, and there are also movies that describe such topics, such as "The Life of the Disgusted Pine Nut", such as "Joan of Arc", and the "Friday" that we are going to talk about today. "Da": Frida suffered a serious car accident at the age of 18, and was devastated by her husband’s derailment, miscarriage, amputation and other continuous destiny, so that in the final stage of her life, she was tortured by physical pain. In the words: "I hope the exit is joyful. And I hope never to return. (I hope to leave happily, and don’t return to this world.)"
2, "Frida"
As a kind of "human nature", when I talk about these things, people will always be moved and cry. Following the smell of tears, ten years ago, American female director Julie Taymo collected the legendary and tragic stories of Frida as evidence, as if she wanted to argue that “the greatness of the heavens must be the first to suffer. "Its will" is an unbreakable truth. Making a movie in this way seems to be imagining a dream with the strong flavor of jalapeno-rich music, colorful pictures, gorgeous costumes and a wounded famous woman. Everything is so surreal, everything is so "gorgeous and sad", everything is so exotic and full of sympathy.
Of course, the word "sympathy", the Bible verse in Romans 12:15 says: "Rejoice with those who rejoice; cry with those who weep." This is a technical job, and you must have the courage to dig your heart out. Lung fantasizes himself in the situation of the other party. And the director seems to be a little biased towards visual effects and ignores this sympathy. For example, in the scene of a car accident, according to the memories of witnesses present at the time, the tram could not be stopped, causing the slow and "almost silent" car accident. In the movie, Julie Taymo exerted his strength to use the visual metonymy of the movie lens: a blue bird that was mentioned too many times in Maitlinck’s poem flew out of the window, and a few symbolized life. The oranges fell onto the deck, forming a noisy whirlpool. The camera then slowly stretched from near to far, facing Frida's bloodstained golden body, as if photographing a magnificent statue. Julie Taymour took Frida so beautifully, not so much as a car accident, but as if Sleeping Beauty had just been helped to bed.
On top of the love-hate entanglement between Frida and Thiago, the director heavily described Thiago's betrayal and the harm it caused, but downplayed the romantic affair between Frida and Trosky and others, and emphasized the portrayal. It is a kind of "retaliation" for Frida to do so, and it is "excusable". Of course, the author is not emphasizing that Frida is not sympathetic or Tiago is not outrageous, but only tastes more and more, which is obviously a product produced in accordance with the expected pattern of romantic films with female audiences as the main audience. Although it is a bit far-fetched to let Thiago, an old and ugly fat man, act as Prince Charming, when the movie draws to a close and he kneels affectionately in front of Frida, who is at the bottom of his life, and asks for a remarriage, the heroine contains Tears said: "Although I am missing a leg, drink heavily, smoke, and lose my temper, do you still want to be with me?" After the heroine got a positive answer, the audience of lovers of romance films here, I must have received a lot of comfort in my heart.
Zizek put it well: "Film is indeed a kind of abnormal art. It will not satisfy you what you want, it only tells you how to desire." As a consumerist product, film is a kind of to the public. A catalyst for unconscious needs and desires. This product must be dreamlike and at the same time conservative, catering to the Hollywood trash expected by the mediocre mob. This time, it was Frida who was recruited: the director wanted to invite a "Cinderella" who was disabled and indomitable in the face of the scars of life to be born from the screen. Her pain and happiness were staged and modeled. Change and become the same. After layers of inexplicable ups and downs and straightforward narratives, we laughed, but it would seem boring to hear more and see more.
3. Frida and Frida
People always talk too much about the life of the legendary Frida (the movie "Frida" is the best proof of this kind of legend), so that people love to mention her personal experience and the correspondence in the painting , Calling her work "Chronicles of Painful Memories", and summed up a lot of labels for discussion: women, the wife of the famous painter Thiago, who has experienced countless sufferings, a mixed-race of German Jews and Mexicans, Believe in communism, bisexuality, openness to sex, etc. In this way, the interest of her life has been infinitely magnified and spread widely-she has even been on the cover of "Vogue" magazine-and the status of her work in art history has been underestimated or even ignored. People like to be familiar with it and classify it as a continuation and reference of European surrealist painting school. Frida herself always disagrees with this judgment. She said: "I don't know if these paintings are surreal, but I am sure they are my most straightforward confession." Unfortunately, this This kind of argument has become a strong evidence that people confuse her art with her legendary experience.
Greenberg once said: "The most important and most internal logic of modernism is to maintain the standards of the past with an unprecedented antithesis to the past." Although it is also difficult to say that Frida's works are "modernist." , But the way of expression in her works is unprecedented, and there is an implicit and true connection with the modernist attempt-insisting on maintaining a sense of mission that is about to go away in an increasingly mediocre world. Frida’s work coincides with the original intention of Picasso, who went to Africa to find inspiration, but Frida was more courageous to stretch out his limbs and explore the cultural soil of his own nation. Naturally simple and freely swaying what is deposited in his DNA Unconscious beauty. The kind of psychoanalytic painting she is good at is like a kind of witchcraft treatment, but also like a mysterious religious ritual to trace the origin. In her paintings, there is an impulse to use private narrative methods and themes to trace and adhere to Mexican cultural traditions. As some people explain, she is complaining about her pain and seeking sympathy and help. It is better to say that she is in Borrowing the modern meaning of "private space" (starting from Descartes’s "I think therefore I am", the concept of "individual" is a Eurocentric vocabulary) calls for a return to the divinity of the "pre-Columbian era", This impartiality is exactly the enlightenment needed in the era when scientific hegemony is about to dominate everything, and it is the inherent logical demand of art history. No wonder Picasso was so fascinated by Frida that he would show up in Paris in his art exhibitions in person; no wonder the famous painter Thiago devoted himself to his talents before his wife became famous: Thiago’s communist complex as a creative subject is still present. In less than two centuries, the ancient self-evident primitive vitality in Frida's paintings is almost impossible to explore.
The example of the fat aunt fully illustrates that after hardships, one does not necessarily become a great artist. As for the Frida in the movie "Frida", it can only be a coincidence that Frida has gone through hardships and became a great artist. Not everyone can become a great artist, because this requires the appointment of a whole era. It is a pity that this is not mentioned in the movie.
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