Annie
The queen is the most conflicted character in the whole film. She's a giant baby, longing for love from everyone, false or real; she's a grieving mother hollowed out by 17 slowly dying children; she's an absurd monarch who clumsily plays the queen's character, flattered by those who control her; she's a vulnerable patient who uses "I'm often sick" as an excuse to escape and blends into a lifeless background with the bed; she's a powerful possessor whose possession is taken by power Fake love and flattery; she's a mental patient who can't figure it out, and the contradictory knots devour her all the time, and she can only vent briefly through roars and strong commands.
Most of the time, she just wanted short-term pleasure, someone to praise her appearance, to play with her children's games. Abigail's presence just makes up for what Sarah can't give her.
Still lacking in love.
"That nasty Cheever boy pushed me to..."
"Hello, I'm Sarah. You're covered in saliva. I'll take you to wash it off."
A seemingly ordinary little thing became her life-saving straw, and she was caught tightly. Annie eagerly hopes that such a person can become her backing, and Sarah's arrival is like a life-saving arrival. How feeble and feeble in heart it is that a simple help should be regarded as a reliance worthy of all entrustment.
Many of the clips in the film show her moodiness.
At the musical ball she went from a lighthearted mood - unpleasant to see Sara dancing - to a more intense anger - happy again because of Sara's obedience
She smiles as she listens to the music on the grass - shouts when she feels bad - sadness surges into despair and madness - lies in bed like a corpse - and is happy because she dances with Abigail
Very rapid mood changes in a period of time: happy-desperate-happy, or despair-happy-desperate abnormal mood changes reflect her mental abnormality, multiple identities and different personalities under contradictions All in all, the capricious extremes of joy and anger shroud the character a layer of comedy and a deeper tragic aftertaste.
The queen's room has also appeared many times in the play. One of the reasons is that the queen is not good at handling government affairs, so she is often bored in her own room. Her room has also become the external manifestation of the character's heart, more like a A cage of constant fermenting conflict.
Her bed is in a very conspicuous position in the scene. The first time I watched it, I felt that she was a decadent queen who often lay on the bed, and she looked lifeless on the bed like a depressed heart was born Inexplicable fatigue, unfounded, emptiness has become the norm. When dressed up, it is nestled in the reclining chair.
In addition, the secret door at the back of the room (on the side of the bed) was explained at the beginning of the film. When closed, it blends in with the pattern of the wall, and the door is not guarded by a doorman like the door, and the back of the door is only narrow. small passage. This door represents the "secret", the secret of the Queen and Sara, and Sara is also behind this door, longing to make peace with her, when the Queen is angry at being threatened. In one room, the contradictions and conflicts on the surface of the film and the inner desires of the characters in the depths are visualized.
There is also a very long corridor leading to the Queen's room.
The presence of the corridor is no less than that of the interior room. At the beginning of the film, Sarah imposes threatening orders on the people in the long corridor; Rabigail seduces here without vulgarity and flaws; the queen listens to the performance through the window, and her emotions suddenly explode out of control and despair...
If the queen's room is a closed fermentation pond, the corridor is the channel that promotes the inner transformation of the characters and intensifies the inner conflict.
Sarah
Sarah is like a real queen in it, but her relationship with the real queen depends on her not being a real queen. At first the Queen believed that Sarah was truly in love with herself, but Sarah said: Love has a limit.
These two sentences are the dialogue at the beginning of the film, the initial manifestation of the conflict between the two:
The queen is possessive love - you love me, you must do what I want;
Sarah is falsely hidden love - love is limited and you can't force me to do what pleases you.
Why did Sarah stay with the Queen for so long? Aside from the Queen's reasons, she once said to Abigail:
Looking back on her first meeting with the Queen, Anne was also weak at that time, and she helped her out of favor with the weak, but this weak (Queen) made her, and another weak (Abigail) destroyed her .
Anne did not act as a monarch at all, and Sarah made up for this defect for the country. She wants to defend England at all costs, so the war should go on, and the tax increases, she doesn't care about the consequences of the tax, because the country people hate the real queen, and if they win, it's up to Sarah Rather more beneficial. Sarah has the strength and hardness of a man, so she loves not being a queen, but being a queen.
"There is a cost to doing anything, and I'm ready to pay it."
It's so easy to say that the sturdy even gives up, and as the opponent of Abigail, who entrusts more emotions to the audience, it is hard to be disgusted. The multiple nature of the characters paints a fuller profile of Sarah.
Sara has always been in the role of daring to confront others in the early stage. She speaks sharply, as if she is deliberately provoking the anger of the other party, and she mocks your anger, which is helpless. But Abigail was the opposite of her, and that also changed her. Before, she seldom flattered the Queen deliberately, and seldom deliberately made fun of it, but after Abigail influenced the Queen, she took the initiative to get close to the rabbit, and joked with the Queen in the mud bath. The importance of the queen, not the belief that the queen's dependence on her is unbreakable.
Abigail
The above mentioned her and Sarah's opposite styles, because of the limitations of her identity and the repression of the environment, she can only be secretive, and has been accustomed to doing things that go against her heart. She is like a superb actor in the play, there is no flaw in the whole process, and every expression, emotion, and movement are very in place.
"I asked if you were following me?"
"It's obvious that you're following me because I'm in front of you."
Among all the roles, she has the most obvious character arc. When she first came to be a lower-level maid, she was like a poor bunny being bullied. When she slowly climbed up, she was nervous and tangled, for fear that she had done something wrong. Or accidentally stepped into a trap. But the audience can clearly see that her desires and impulses are constantly brewing, expanding little by little, until they devour the id, and reach the commanding heights after climbing on the queen's bed, making more excessive "inciting events" (poisoning) ).
She is very similar to the Queen in one way—contradictory. Many of these contradictions are revealed through inconsistent performances and broken thoughts. The most intense thing is that after she poisoned Sarah, she was more anxious than when Sarah was still alive. This anxiety was out of confusion and helplessness. Like the Queen, she was afraid of the unknown, especially the unknown future. Her unfortunate past experience makes her yearn for stability and for the sake of dignity to climb up in the palace, making the audience feel pity, and there are many narrative angles that stand from her point of view, fully demonstrating a fallen The absurd story of a bad girl yearning for the nobility of aristocrats in her heart and not hesitate to get involved in a power struggle. Her actions even violated her inner ethics, but the audience felt that there was a reason for the incident, so she did not feel that what she did was wrong. The comedy in the Queen is her moody and childishness that doesn't match her appearance; Sarah's comedy is the role of the Queen in the place of Anne, but unfortunately it was spoiled; Abigail is the most serious one in the play. , Crawling out of the mud, she has no way to retreat, she can use more means, she is the most special one, not a prostitute at the bottom or a noble lady, she is struggling between the two. She has a dangerous equanimity, silently propelling the trio to present this absurd comedy to the audience.
ending
The movie is over, but there is no sense of the curtain falling slowly in the sense of drama.
On the face of it, Sarah will no longer be in charge of the state after being expelled by the Queen; Abigail reveals a stronger desire to be a new and feared role at court; Anne's long-awaited letter does not come and is lost The person who helped her handle state affairs, Abigail beside her made her feel terrified, and she fell into a deeper confusion.
The three women had such an ending, the balance was broken, and the future was uncertain.
The important thing is that each of them can't get what they want.
If it weren't for the gorgeous palace coat, this movie is really unacceptable emotionally.
Confusion and helplessness were written on his face.
No one is the darling of fate.
2019.3.17
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