While Tony Marshall's portrayal of the ups and downs of a middle-aged woman's life is rare, Nadalie Bey's portrayal of Angel's romantic life focuses on a series of evening sit-ins. When Anthony, who was younger than her, fell in love with her, Angel always insisted on his independent status. From the conversations of people in the beauty salon, we can know that among these professional women, no matter their age, no matter how beautiful the woman is, They all need to be self-reliant, self-improvement and self-respect, because only in this way can they be respected by men, and they can also get the man they love. Angel is like that, and so is Boulle Ogier's boss Madame Nadia. Angel also wants to find a favorite life partner, but if he can't do it, he is absolutely unwilling to commit himself to a rich man, and would rather have an affair with a man, get short-lived joy, and kill the long lonely night. Her co-workers at the beauty salon understood her and Samantha's anguish about not being able to stay with a regular man for long. Emotional matters can only depend on fate, and there is no fate. Otherwise, the tragedy that Angel has experienced will be repeated, so not only Angel has lingering fears about this, and always warns himself not to fall in love easily, but Samantha also learns from Angel's experience and refuses to prematurely set a lifelong event with a man. . Only little Mary, who is ignorant of the world, is in love with the old widower who comes to the beauty salon for facial beauty. Fortunately, Angel, who is experienced and experienced, often protects her from harm.
This comedy of life not only involves the film's protagonist Angel, but also overlaps her colleagues, her family and her past lovers in parallel. The director uses metaphors to interpret the ups and downs of life. Women (including men) use cosmetics to cover up the flaws of their bodies (especially their faces). Angel also uses a thick layer of oil paint to hide her inner heart. Her true feelings are hidden behind this mask. It is not the flaws in the face that are covered up, but the scars in the heart.
The film was warmly received by French audiences, winning four Caesar Awards (Best Director, Best Picture, Best Screenplay and Best Future Star). The winner of the "Best Future Star" award was Oudre Doudou, whose success led to her outstanding performance in 2001's "Amelie the Angel" directed by Genet.
It's a romantic comedy that paints a look at life in Paris in the 1990s. Nadalie Bey plays a forty-year-old beautician in this film who has a rocky love life when a man breaks into her life like this and says to her "My name is Anthony and I love you" !" At that time, the woman who longed for true love but was hurt by love was at a loss, and her life was completely disrupted.
Director and screenwriter Tony Marshall has a deep understanding and research on women's psychology, especially the demands of lonely women. In the film, the director not only has been studying the psychology of beauticians, but he is also analyzing the different psychology of various customers. They are of different ages, genders, social classes and educational levels. The four beauticians in the beauty salon and the regulars or passers-by in and out of the beauty salon are all the objects of the director's attention.
Nadali Bey was born in Manneville on July 6, 1948. Born into a painter's family, she liked dancing since she was a child. She went to New York to study dance for two years at the age of seventeen. After returning to China, she studied at the Department of Dramatic Art of the Paris Opera Academy. During his studies, he has shown excellent artistic talent. In 1971, he co-starred with Isabelle Adjani in "Fustina". Two years later, Truffaut asked her to play a supporting role in the famous comedy American Night. In the late 1970s, he performed well in Truffaut's "The Man Who Loves Women" (1977) and "The Green Room" (1978), as well as in Jean-Luc Godard's "Escape From Each Other" (1979). Won the Best Supporting Actor Award for Nishizawa in 1979. The 1980s were the most brilliant era of Nadali Bey's film performance. "A Strange Thing" (1981) and "Markdown" (1982) earned her two consecutive Caesar Awards, completely different films. The type makes her play a wider range. She gained international fame with Gérard Depardieu in "The Return of Martin" (1982), where she successfully performed in "I Married a Shadow" (1982), directed by Bertrand Beaulieu A psychological film, and the mysterious woman in "Our Story" (1984), fascinated by the role played by Alain Delon, put her acting skills on full display. In 1985, in Godard's "The Female Detective," he played a wrongly married woman involved in a dirty deal. In the early 1990s, Bey starred in "Nigel Garcia" and "Meet Once in Two Weekends," both films about married women experiencing emotional crises. Unlike many actresses, Nadalie Bey is still starring as charming heroines in love dramas and comedies, two of her most famous films being The Erotic Connection (1999) and the Venus Beauty Salon. The previous film follows a woman who discovers that the mere sex trade is not as easy as she thought. The latter film earned her a Best Actress award and a fourth Caesar nomination at the Venice Film Festival. The passage of time not only did not fade Nadali Bey, but prompted her second artistic youth to arrive earlier.
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