thought about Marilyn Monroe for a while.
But don't be wrong, I miss her, not because of her so-called sexy. Because I always thought that if Marilyn Monroe was also sexy, there would be too much sexiness in the world. This means that, like Liedaxi and Fu and Ava Gana Duanshu, I am afraid that only children under the age of fifteen can accept it. Because for them, what is sexy and what is graceful, and the teacher needs to teach them to read the dictionary, and even if they do, they will still be at a loss.
The first film I watched Monroe was "Falling Waterfall", and the director of that film only taught her to twist her butt, which was disgusting in addition to making people laugh. Later, in "Marrying a Golden Turtle-in-law", she played the thirteen o'clock wearing myopia glasses, which was not so bad; but in terms of thirteen o'clock, Gloria Gelihan was a little more mature than her anyway. When it came to "The Seven Year Itch", she played a little bit of a girl who only lived on the surface of life. It was not until this "Bus Stop" that I felt that Monroe had learned to act. To say this may be too unfair to her, it can also be said that she is really acting in this play, or the director asked her to actually act. In Hollywood society, this situation is not surprising.
Probably because Monroe is sexy for the market, so in "Bus Stop", the director also used her "sexy" to some extent. But this seems to be a bit self-defeating. Under the camera, she actually has a discounted neck and thin arms. If the audience appreciates her here, I am afraid that it will not be because of these, but only because of her good performance.
Monroe played the role of a ninth-rate showgirl in a low-class bar, but the "life map" in her hand was drawn from the remote village where she was born to the glittering Hollywood, and she never gave a damn about the dog. The poverty of flying to the millionaires who even the president has bowed to is probably the "standard living ideal" of a society like the United States. But in the middle, there are absolutely not many successes, but blood and tears are visible. The director asked Monroe to hold the map in her hand. It was very interesting. On the map, she was on the road of life. She drew from a small village to "Phoenix Town". A blood-red line was already very long, but from "Phoenix Town" to "Phoenix Town" This part of Hollywood has always been incoherent. As soon as Monroe appeared, people saw her unsophisticated singing and dancing, and they had a premonition that her dream would not be fulfilled. Here, she does not show off the capital that God gave her, but gives the audience the heart of a character who is a little silly and a little helpless, making people feel that she is worthy of sympathy, not worthy of contempt, you will think she is a little bit Funny, but more of a pity for her. Such an opening not only explained her inferiority complex in her later love, but also heralded the outcome of her fate. Monroe also carried on this inner characteristic all the time, so that this character, which was originally very ordinary in life, also appeared to be a character. I think this is the result of the joint efforts of the director, screenwriter and actor.
But the first credit should probably be attributed to the director. This Josiah Rogen, who once learned from the art master Stanislavsky, has two hands. In the first film "Crazy Love", he showed his talent in a flash. "Bus Stop" also has some unique features, although it is not as free and easy as "Crazy Love". I think his characteristic is that he is good at expressing themes in details and excavating deeper social meanings from ordinary life; although, I don't know if it is because of Hollywood's restrictions that force him to be more obscure. In "Crazy Love" and "Bus Stop", he actually revealed a part of the social meaning. For example, in "Crazy Love", the "bad guy" wants to get better but not; In the end, the dream was difficult to come true; behind them, the power of money was vaguely controlling and trampling on human nature, but it was not obvious. Especially in "Bus Stop", he gave a lover to Monroe halfway, softening and even beautifying the tragedy of fate that was waiting for her. In addition, one of the characteristics of this director is that the tragedy and comedy are often well reconciled, and the audience can easily forget the little social significance left in a kind of melancholy.
But in any case, he has such a skill: he is good at deepening ordinary life themes, so that people who pay attention to the social significance of the play and those who don't pay attention to it will find it "good-looking". His "Crazy Love" made the audience remember Jin Luhua, and his "Bus Stop" was the first time I was satisfied with Marilyn Monroe.
View more about Bus Stop reviews
