It has been a while since I watched the film "Fur", but I still feel like I have indigestion. Although the filming intention of the film is clear, the specific implementation effect is not easy to agree with.
"Fur" tells the story of how Diane Arbus, a female photographer who was active in the 1960s and known as the "Van Gogh" of the photography world, explored and started her "world-shattering" photography style. The film is adapted from Patricia Bosworth's best-selling biographical novel about Diane Arbus published in 1984. It also incorporates a considerable number of fictional characters. There are word prompts at the beginning of the film, to the effect that the fictional characters in the film are in line with Diane's then. Appropriate fiction of living conditions and creative ideas... In fact, those fictional characters based on Arbus's future shooting subjects are rigidly placed in the film like symbolic symbols, which is neither congenial nor flattering. In this way, the "best American photographer of the 20th century" was imagined by the film's creators.
The first time I noticed Diane Arbus was when I saw a piece of her work "The Boy Holding a Toy Grenade", the suffocation and darkness revealed by the work hit the vulnerable person at once, so she Start checking out her other work. Further, she found that her subjects were all extraordinary - those people who were mistakenly created by God, deformed people, imbecile, mentally retarded, transgender people, etc. Diane respected them as "nobles". Under her lens, both conjoined people and celestial bodies show their "ugliness" crudely, and she seems to be trying to present "the unbelievable side of the familiar, the familiar side of the unthinkable". Diane, who has captured and reproduced fate and tragedy, should have a different inner world than ordinary people, so she wants to know more about her life background.
Before becoming a photographer, Diane Arbus, born in 1923, the second child of a wealthy Jewish fur merchant, fell in love with Ellen Arbus at age 14 and married Ellen at 18 . After the war, the Arbuses opened a photography studio at home, engaged in clothing photography, and became quite famous. Before her independent shooting, Diane was her husband's right-hand man, a capable housewife at home, a good mother of two daughters, and a good daughter of her parents... Maybe she was born too well, played too many subordinate roles, and felt depressed and suffocated. Ann wanted to change and do what she wanted, so she deliberately broke the taboos of the upper class at will, and mixed it with "perverts", aberrations and ugliness, and used this to fade her original appearance of perfection and purity. life. The film is captured and started from this moment.
The parents deliver their new fur launch at Russek Fur Store on Fifth Avenue to son-in-law Aaron Arbus (Ty Brill)'s home photography studio, and Diane Arbus is meticulous and busy with preparations. (Nicole Kidman) is nervous, plus she has to deal with and endure her mother's self-righteous aesthetic judgment and celebrity questions about her "what kind of work do you all do"... Into the
night, Diane Seeing a mysterious man covering the street quite tightly, only showing a pair of eyes, that deep and obscure gaze attracted Diane. The man is new neighbor Lionel (Robert Downey Jr.), a hirsutist.
Diane was determined to start shooting independently with the camera her husband gave her in her early years. The first subject she chose was Lionel, who lived upstairs, and went to Lionel's house every night to have tea and talk. Lionel had an insight when he first met Diane: this lady of high society and good housewife in fine clothes and fine food, under the appearance of her superior life and beautiful appearance, has a restless heart and some Insufficient for the hidden desires of outsiders. Since then, Lionel has become Diane's confidant.
Lionel went out with Diane to visit some special friends, those freaks and alternatives in the stratum society. In Diane's eyes, these people are beautiful. At the party full of "freak", Lionel Say, I know you'll like it, I've been waiting for a real freak to show up...
Husband and daughters endure Diane's changes - staying home at night, not being a helper, taking care of the house, meeting strange people. Until one day, she unscrewed the screws on the ceiling of her house and removed a piece of the ceiling, so that Lionel upstairs could come down directly with his friends as guests. As a result, Ellen and her daughters were amazed to see women who lost their arms, dwarfs, giants, transvestites, idiots and other characters walking down the ladder in turn. Allen finally couldn't stand the "circus" after a day's work, and the eldest daughter said angrily: "It's a shame to have a mother like you." Even so, Diane still insisted on her incredible idea of making friends... …
the film seems to attempt to deduce Diane’s transformation into a brilliant, philosophically conscious photographer by recounting Diane’s intimate interactions with the fictional hirsutical man, as well as Tile’s encounters with other “eccentrics.” Diane Arbus once said - photography is a passport, I can do whatever I want. The creators of "Fur" also seem to have a little bit of a fantasies about this unconventional non-mainstream artist: the mothers of children, Diane and Lionel, who have not yet been divorced, the sex scenes are set up erratically; the most important thing is What’s more, the supposed experience of being a controversial photographer is also dealt with in a chaotic dislocation. Nicole Kidman's performance is very hard, but the audience can't feel Diane's spiritual world and the important process of her psychological transformation. Obviously this time Ni chose a hard bone but failed to bite it, and went in the wrong direction , again with the wrong force. Although Arbus believes that photography is more of a personal act, irrelevant to morality and responsibility, a film cannot be just an act of irresponsibility. The film is somewhat confusing.
The real Diane Arbus began to create independently in 1956, separated from her husband in 1959, and officially divorced in 1969. She has always been obsessed with her beliefs, "For me, the subject of the photo is always more important and complicated than the photo itself. What I care about is what this photo is about." However, after seeing too many tragic After fate, after fully understanding the gap between normal and abnormal, and after being unable to get rid of the misplaced confusion between the ideal world and reality, too many collisions and thinking made Abs unable to bear the load of her mind, and she suffered from serious illness. Depression, and her death was as horrific as her work: on July 26, 1971, 48-year-old Diane Arbus committed suicide by slashing her wrist with a razor blade in a bathtub after taking a large dose of sedatives, blood stained The water also dyed her body red...
Arbus said: You can't get out of your own skin and enter other people's bodies; the tragedy of others can never be yours. Perhaps, she was still confused by the mystery of fate at the moment of her death.
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