Since Cate Blanchett played "Blue Jasmine", her grasp of a lady with a complicated life background has become more and more powerful. The (no) relationship with her husband, the love and reluctance to her daughter, the yearning and pursuit of her (true) love but restraint, all performed very well. I think it shouldn't be difficult to show maturity and sophistication, because her own age and experience basically meet the audience's expectations for the heroine; what is rare is that under the surface of these mature experiences, she still presents a very good performance For example, for young girls, they never know, they are not familiar, they are excited, they are slowly familiar, they are road trip (not sure if it should be called as road trip or elope? Haha!), then they are reserved and mature. After a series of entanglements of restraint and wanting to express my true emotions, I blurted out, I love you. Maybe it's my own preference. For this kind of complex combination of being strong on the one hand (fighting for the guardianship of my daughter, tenacity of motherhood) and being very weak and uneasy about my love on the other hand, and taking a step back. The so-called strong Caucasian women's standard curly blonde hair, it's all perfect, a reasonable combination feels right in the arms. At the same time, I also agree with what was written in some hot reviews, I feel that the role of cate shows the provocation of deer in the spotlight (hey, Rooney Mara, it's you!) by the ruling class that is about to come anytime, anywhere. There is so little play. But on the other hand, trying to interpret cate's performance, perhaps the conflict in the family and the lack of emotion led to the gushing out of a dam that seemed to be pouring out - it seems that the loss of control of the flow is also love. Excusable. The only thing that is debatable is when she felt that she was not in a one-night (several nights) relationship with the small salesperson, not a channel for emotional catharsis/resolution, but wanted to seek a long-term relationship. Maybe the night she left, maybe the moment she saw her on the streets of New York again.
When Rooney Mara was in the same frame as cate, his acting performance was not lost at all. This really surprised me. It should be that I have never seen someone play deer in the light (from your lover's eye haha!) so well and so subtle. She sat in the lady's car and apologized, "I'm sorry, I should have rejected you, I didn't know what I wanted - I almost believed her!" In fact, although she looks weak on the surface, doing low-level work, her eyes are erratic, and her figure is weakened, she is clear about what she wants in this relationship. Otherwise, what exactly is the invitation to "take me to bed"? Let's assume that this little saleswoman doesn't know what she wants, so when her eyes are hot, and when Cate undresses behind her, she should immediately put on a party member face and say, Miss Carroll, please respect yourself! Of course, good she didn't say it! Because on the one hand really want to see two people fully expressing their feelings and then naked (pun intended!) in love on screen, on the other hand who doesn't want to see rooney mara and cate blanchett Get lost in one! open! bed. Putting aside the jokes, I saw that she went to her house for the first time, and when she was in the dark on the way back to the city by train, I didn't quite understand why she was sad at first: I thought it was expensive. The woman is not as beautiful as it looks on the surface, so she feels sympathetic in her heart, or she feels that she can't help her in any way, so she suffers silently, or does she feel that some things/emotions end without starting? It seems as though these feelings are all there.
About the ending. Seeing her turn down her dinner invitation, I thought it was all over. Even before that glimpse of Carol seeing her on the street, I thought the movie should end like this - just like any relationship that's more bad than good. At this point, the single loop that comes to mind is: we might as well be strangers. But then it develops to after she rejects her, and finally finds her through the crowd in a noisy restaurant at the end, and then makes it like the next person Just like everyone was burned to death by the raging fire of love, the only thing left in the world is the gaze between her, who has become a photographer, and her, who is determined to resolve disputes between her family and children. Not sure if this is the best ending (compared to the movie if Carol sees her Angel in the car again a few years later, flung out of space and then ends abruptly). So I wondered if the movie could end like this for a sequel: let two people who are so different from each other really live together, quarreling over firewood, rice, oil and salt, she roared, I gave up my daughter for you, a good life, Big house! She said, "Fuck off, then turn around and hang out with a male colleague who was a photographer at the New York Times."
I still think the movie should stop when she was in the car and took a deep look at her walking down the street, unknowingly being scorched by the person she once loved, and then the camera slowly zoomed out and turned up; the camera seemed to be full of All the people in a hurry throughout New York, the stalls on the street were steaming, and the traffic lights were on in turn. Defective, unfinished feelings dissipated on a winter afternoon in New York in the 1950s with a breath of cold winter. For the love that was once so important for two people, it suddenly seemed insignificant in the rush of the crowd in New York, the bustling and bustling world center city.
Writing this, I suddenly feel that maybe the role played by rooney mara really doesn't know what he wants. This thought made me feel inexplicably very sad.
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