Isabelle Huppert once described herself and Adjani this way: "If we were all admitted to the neurological hospital, then I was in the schizophrenia ward and she was in the delusional ward." "Schizophrenia", there is no better word than this. The roles played by Huppert. In 1978, "Violet Nozier" came out, and Huppert turned into the girl who did all the evil in the film: stealing, prostitution, murdering her father, with a pale face, revealing a cold texture. Huppert's performance is cold and unusual, like a sharp sword, piercing the suffocating family environment, or more precisely, the suffocating era. Conquering the critics of the Cannes Film Festival who have always been critical, the actress deserves the crown. That year, Huppert was 25 years old.
"Violet Nozier"
, a freckled girl with a hoarse voice and an indifferent expression on her face, has since opened the prelude to the conquest of France. Today, with her fame are the top actresses in France: Catherine Deneuve, Isabelle Adjani. Let's take a look at the beauty of the two goddesses, sweeping men, women and all human species between the ages of 8 and 88.
Huppert needs to win in the face of such a beauty that does not abide by the Basic Law. How to win? Without the burden of idols, Huppert dares to take on any role. His broad play and bold performance are eye-catching. Huppert is good at playing a woman with a cold appearance and an inner pain in the middle and upper class. In "Piano Teacher", she scratched her lower body with a blade, and the depression filled the screen, making people experience skin-to-skin pain. Seeing this scene, the big bags under my eyes that scared me to insomnia... trembled.
In "Her", in the five rape scenes, the snow-white body was exposed on the screen at the moment when the thugs tore. Let life squeeze a sweat.
Director Paul Verhoeven collaborated with Huppert to
ask which goddess could put down her airs like this and play a perverted female who was raped and took the initiative to tease the rapist without any scruples?
At the beginning of the film project, Paul Verhoeven took the script to look for female leading actresses everywhere in the United States, but no actress dared to accept it. Huppert, however, was willing to give up. As long as she likes the script and the director she likes, nothing is impossible. For her, acting in a "bad director's film" is unbearable. So she fell in love with Paul Verhoeven, a famous character director in the Netherlands. "Instinct" is from his hands.
Sharon Stone just crossed Erlang's legs, which has already made countless people unable to stop.
Huppert chose Verhoeven because of his talent. The same goes for Verhoeven.
Paul Verhoeven said in an interview, "The essence of the characters is often brought to a level of extreme violence and realism by Huppert's performance: few actors in the world have the ability to make it feel like everything they do is Really." ("Cinebook" interview)
This authenticity is not a talent that every actor has. It is a realm that can only be reached through a thousand trials and tribulations.
When working with Palme d'Or director Michael Haneke on "The Piano Teacher," Michael Haneke asked her to "must play the piano while realizing that she's in love with a schoolboy, and at the same time make it feel like she's desperately suppressing this That kind of love."
It's impossible to do just by facial expressions. It takes actors to give that plausible uncertainty. And the charm of the movie is precisely in this little uncertainty, which makes people feel the deep meaning behind it, so that it can be full of stamina.
In "She", the male neighbor invites her to visit the basement. With one look, she let the audience know that she already understood the purpose of the male neighbor's move. The lines are redundant.
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Similarly, when he confessed to his best friend Anna that he had slept with her husband, he used only one look to quickly cut into that state and show the character's heart. Sharp, precise, perfect!
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But if Yu Pell just equates with eroticism, blood, perversion, and madness, it would be too contempt for her. Under the tutelage of French new wave master Claude Chabrol, the two worked together on eight films. "Madame Bovary", "Grim Ritual", "Women's Affair" and so on. Aiming at middle-class values, Bubu does not shy away from showing the dark, violent and lustful side of human nature. At the same time, Huppert's teachings have accompanied Huppert's entire acting career: "Being an actor is ultimately about learning to be a free person. An actor must have free and smart ideas in order to make a good movie."
In "Her", Paul Verhoeven
hardly needs to tell Huppert any specifics. Not only can Huppert play out the feel he wants, he can even resolve steering violations and give more options when they're about to change direction.
"She often goes behind the camera after one shot, and then comments, this one doesn't work, that one has a problem. I'll take down the one she likes the most. Usually makes sense." —Cinebook
interview Paul Verhoeven's
violence and sexuality are sensational appearances, and the most important thing is to unearth the stubborn diseases of this society and pierce the common ground in the depths of human nature.
In "Piano Teacher", she committed suicide with a knife. Under the totalitarian control of her mother, her human nature was twisted to the extreme.
Her mother treated her like this, and she did the same, treating her student lover exactly the same. Sexual abuse and abuse, cruelty and pain, this film with a subtle insight into human nature can make the strongest audience feel the pain.
For her, sex is violence, and violence is sex. She has lost her most important ability as a human being, the ability to love.
Huppert's interpretation of "The Piano Teacher"
is wonderful. She has become one with the character. She is a worldwide recognized talent actor!
The Cannes judges unanimously voted to award her the Cannes Best Actress Laureate for the second time.
Today, the only award Huppert has not won is the Oscar. "Her" is likely to win an Oscar for Huppert.
For Paul Verhoeven, "Her" is essentially different from "Instinct", which is a typical American film. And "Her" takes a slanted edge and abandons the American movie routine.
At the beginning of the film, there is only a calm black cat in the picture. Moans and various sound effects tell the audience that a rape is going on out of sight.
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A few minutes later, the rape scene was finally revealed, and the perpetrator was masked. The victim is Michel, played by Huppert.
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After Michelle was raped, she cleaned up the mess and went into the bathroom to take a bath. But he didn't call the police. Afterwards, he had a dinner with friends, and Feng Danyunqing said that he had been raped.
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What kind of person is this? Why didn't you call the police if you were raped? Who the hell was raping her? Paul Verhoeven doesn't let the story develop along these questions. He also showed Michelle's various social relationships: stupid son, coquettish old woman, devil father, literary ex-husband, erotic husband, victim friend, and handsome male neighbor.
And through a play, all these characters are brought together. (Paul Verhoeven claimed that the scene was inspired by "Eight and a Half")
Why not follow the question and make it a suspense movie? Paul Verhoeven said: "This is not a typical Hollywood narrative." Hollywood narrative, all the characters are there for the needs of the plot. Characters that have nothing to do with the plot will not expand at all.
On the one hand, the film is explaining the suspenseful part, and who is the rapist. On the other hand, it is explaining Michelle's social relations. The director didn't want to fall into any one genre. He wanted to have the freedom to shape the characters without the plot as the goal.
This is what makes "Her" unique.
The director kept telling Michelle what to do after the rape and what to do after finding out who the rapist was. Every turning point is a little plausible. Huge uncertainty that draws viewers to look down.
The purpose of the director is to let the audience get some fragmented information, perceive it by themselves, and get their own insights. As for the truth, it can never be proven.
Likewise, the character of the protagonist Michelle is also very unique. After being raped, instead of calling herself a victim, she has to change from passive to active. Even in rape scenes, she still takes the initiative. She knew that as long as she actively catered to it, she would immediately lose interest in the abuser.
Everything is under control. This is an extraordinary raped woman.
Even more bizarrely, after finding out who the rapist was, not only did he not call the police, but he also developed an ambiguous erotic relationship with the rapist.
This angle is very provocative. If you move your brain a little, you know it's anti-female.
However, Verhoeven did it anyway. Huppert still did it.
What a thrilling revenge it would make if this script were given to any Hollywood director.
If this was given to any Hollywood actor, it would have to be exaggerated and raped.
(See "The Revenant")
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Please Xiao Lizi accept aunt's contempt
At first, the film was planned to be shot in the United States and made in English. Later, when I thought about it, conservative Hollywood simply couldn't accept it, and risked the world's disobedience. So the center of art cinema was chosen, France. However, this film unexpectedly won the Golden Globe Award for Best Actress. The next target is the Oscar statuette.
Should Hollywood be ashamed of its conservativeness?
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