For Chinese audiences, the name Daniele Darillo must be very unfamiliar, despite her pivotal position in French film history. Born during the First World War, Dario participated in the film at the age of fourteen and starred in more than 100 films, witnessing the glory and innovation of film history before and after the war. Dario was very good at dancing and singing when he was young. He went to Hollywood to develop and starred in many musical films. [Eight beautiful pictures] is also one of them, when she was 85 years old.
Francois Ozon's "Eight Beautiful Pictures" is full of ingenious banter both inside and outside the play. The most classic scene of off-screen gossip is that Gaby and Pierrette in the film fought for having the same lover. At that time, the media joked that the two beauties were fighting for Truffaut - Catherine Deneuve and Finney Aldan had a fight over Truffaut in reality, and Finney had children for Truffaut. In the movie, Ou Rong arranged for the two of them to kiss and kiss, and the picture was really wonderful. The script of the original author, Robert Thomas, was originally bought by the suspense master Hitchcock, but unfortunately Xi Fat passed away before the remake. Ou Rong's adaptation of [Eight Beauty Pictures] does not have the suspenseful sense of suspense and the atmosphere of sitting upright in a suspense film. The so-called "not a family, do not enter a family", [Bameitu] This family homicide case full of stage drama, often changes between family members' fighting and hatred, and a vein of warmth. The murder took place on Christmas Eve, and it is the portrayal of the family with different appearances - the shadow of death shrouded in a snowy night, giving the family the "best Christmas gift".
As the saying goes, two women play one show. There are eight women in the [Beautiful Picture]. Ou Rong's films are used to tell stories from a female perspective. In this film, he simply removed the male characters, leaving only the backs of the deceased, and wrote a large series of lines, making the eight women chatter from beginning to end.
The form of musicals is placed in suspense films. Ou Rong's attempt is very bold, completely breaking the rhythm of traditional suspense films. Each woman in the film has a song and dance, singing their own voice. Although these singing and dancing scenes have nothing to do with the case, they play a role in fueling the interpretation of the characters in the film. Indoor play is also a favorite of Ou Rong, and the main scenes of the film are concentrated in the hall of the house. The hall becomes a stage for the heroines. The retro colors and decorations, as well as the actors' exaggerated performance methods, allude to Ou Rong's intention to restore traditional French cinema. The color of the background and the colors of the heroines' costumes show Ou Rong's attention to art and his intentions.
A person who is used to watching suspense movies must have never seen a suspense movie like [Bameitu], which is depressing, divisive, absurd, and neurotic. Using singing and dancing scenes to elicit the inner world of the characters often makes people forget who is still discussing the murderer in the first second of the movie. Everyone in here is very divided. They just hugged each other tightly, and after a while, they turned to scuffle and tear together. One second they were upright and united, guarding each other, the next second they began to expose and expose each other. The human heart is sinister and difficult to discern, the source of evil is desire, and love is wrapped in this desire. Not one of the eight women lied and concealed each other without a strong need for love. For example, the black maid who lied for her husband's sister because she loved her deeply; or Gaby, the mistress who did not have her mother tell the truth of her husband's poisoning to her sister, also out of love for her sister Augustine. But also because of the strong love, the love of all people is a mixture of love and hate. This is why they always kill each other after a moment of warmth. In addition, these female characters themselves have distorted opinions in expressing themselves. Among these images, Aunt Augustine, played by Iribel Huppert, is the most divisive and hysterical. This old maid who represses her love impulses, loves everyone in her family, but disguises herself by being critical and hostile to everyone. Until she learned the truth of her father's death - poisoned by her own mother, her hysteria finally exploded and she was reborn.
Everyone in the movie, after the secret is revealed, has gone to the moment of rebirth. In some people, Ou Rong announces the rebirth of the character in a makeover, such as Augustine, the maid Louise with loose hair. Others are less obvious and manifest through their actions and attitudes toward their family members. But no matter what changes they make themselves, Ou Rong will not keep their images for too long, because his purpose is to completely expose the secrets of these people until the host and the audience are unbearable.
In [Bamei Tu], although the male characters are almost absent, the film still revolves around the relationship between the two sexes, with the utmost sarcasm and irony, making fun of this group of men and women with strong selfish desires. For example, the old maid Augustine who yearns for love, the aunt Pierrette who deals with all kinds of men and women, has a complicated private life, and the mistress Gaby, who has a bad relationship with the deceased and plans to run away with her lover, all struggle with the blurred desires. in love. At the same time, the film is also mixed with obvious bisexual preferences. The maid Louise is the mistress's lover, but she is in love with the mistress; the black maid Chanel and the mistress' sister Pierrette are a secret lover. Even, the film also involves incestuous relationships: the deceased Marcel had an affair with his sister, and after marriage, he left his sister aside, and even had a child with his eldest daughter (which was later confirmed not to be biological) Susan , The little daughter Catherine's infatuation and admiration for her father is almost insane, and she often peeps at the infatuation between her father and the maid. The relationship between the characters here reveals a phenomenon: every day, no one is clean.
Behind the complex character relationships, several family scandals are revealed. Interestingly, O Rong did not demean the family's behavior by widening the perspective of God. In other words, he placed the perspective of God on a character that the audience had not thought of at all - the eyes of the deceased Marcel. This murder was the plot of the youngest daughter Catherine and her father to test several women in the family. Ironically, after a group of women exposed their cases, the man who was full of stains on his own finally lost the courage to live in the face of various truths and resolutely chose to commit suicide. This is also his rebirth. The women also sang this absurd comedy after the master's real curtain call.
The last one to perform the song and dance was the grandmother played by Dario. From the beginning to the end of the movie, grandma's image of a miser seems to be more pure than the other girls who fight because of love and hate. She is a scumbag who desperately defends Augustine. Maybe she doesn't seem to be the most hateful. One, but also concealed the huge secret of poisoning her husband. Grandma's life was full of lies, and in these lies she realized a truth, which was probably what Ou Rong wanted to say: there is no love in the world that is not painful.
(The original text was published in the Tiandi Street column of "Watching Movie Weekly")
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