Yinxiang from Cannes http://cinephilia.net/57491
Scoring: ★★ (Journal system, four-star perfect score)
Apart from watching movies every day in Cannes and staying up late to write articles, the greatest joy is probably left with the mutual complaints of the media colleagues after watching the movies. Before the start of the game, the number one seed player in the street film "Under the Peony", which was generally optimistic, did not even rush. Of course, it may first be because the duration is relatively short, and the second is that the film is very neat, but I think the main reason is that the third act of the film suddenly changed, turning the ridicule of the first two acts into a comedy. Moreover, the overall film has a feminist viewing structure, which is indeed a bit interesting. Overall, it is slightly better than Kawase Naomi's "Hikari", but the goodness is limited; because the duration is shorter, some aspects that may be more brilliant have not been developed, so the score may not be higher.
Both the film and the 1971 film of the same name are adapted from the same novel. It tells the story of a wounded Northern soldier who was taken into a Virginia girls' school for recuperation during the American Civil War, which caused a disturbance within the school. In a sense, the film can be regarded as a sex-transformed version of Snow White and the Seven Dwarfs... But the difference is that the Seven Dwarfs are obviously castrated males (because of their shortness...)-at least they are right Snow White has no desire; but in "Under the Peony", the northern soldiers who strayed into the daughter's country caused a wave of waves. From the two teachers who have been sexually suppressed for a long time, to the precocious girl like Cheerleader, and then Girls who were underage were all aroused desires to varying degrees. Everyone took turns to please this handsome man, from dressing up carefully to throwing in his arms one after another; but the key issue was the soldier. When he was seriously injured, he played as the poor little white rabbit of Chuchu. Once he was able to walk on the ground, he began to change his style of painting to become a master of sultry sisters, making the entire girls’ school smug. The teacher and the students began to compete with each other and become jealous. Carrying a Wei Xiaobao-style dream of a harem, so I was holding the bowl and looking at the pot, while meeting Christen Dunst, while hanging Nicole Kidman, he touched Allie in the middle of the night. Fanning's room... As a result, Dunst was so jealous that he pushed him downstairs, causing the wound to open. Nicole Kidman was about to take personal ambitions, and immediately saw off his leg-a typical castration symbol. The director was also afraid that the audience would not understand it, so Colin Farrell, who played the North Army soldier, complained loudly. " Am I still a (male) person like this?” In the end, Farrell stole Kidman’s pistol and used all kinds of prestige, but Kidman made a living and used poisonous mushrooms to understand at the last dinner party. The life of Farrell (think of the poisonous apple that Snow White ate...).
Turning his head back to look at the visual structure of the film, Farrell was basically in the position of being "watched" in the eyes of female teachers and female students when he was seriously injured; as he gradually recovered, he also began to occupy the viewer's view. Location. But in general, his main role in the structure of the film is similar to a mirror. The way women please him is very similar to the way they appreciate themselves in the mirror, and is shown through some shots of finishing makeup in front of the mirror. However, in terms of viewpoint rights, Dunster and Kidman still occupy the main viewpoint positions. This is not because of their star status, but in the narrative, the two teachers are the subjects of action with autonomous will. What’s more interesting is that their subjectivity is completed through the acceptance and exclusion of men. From being inspired by maternity, to losing the subject identity, and then to the re-establishment of the subject identity, the structure of observation and narration are strictly matched. .
Of course, each character has its own characteristics. Nicole Kidman is the principal with power and the only owner of the pistol. She occupies a fatherly position, which leads to her acting like a father. Right means. But at the same time she is the principal of various prayer activities, which gives her subjectivity a certain a priori related to religion. Therefore, her vacillation is very delicately portrayed. In comparison, her sobering process is a bit blunt-she returned to the main position through the patriarchal castration performed by quite female jealousy. Therefore, in the third act The main contradiction in the show is also that she and Farrell fight for control; and the way she regains control is quite feminine-poisonous mushrooms are both food and poison. The main problem with Dunst’s female teacher is that she is extremely self-depressed because of her lack of confidence in appearance, and because she has been in a subordinate position for a long time, it is very easy for her to give up her dominant position under Farrell’s sweet talk. She got the promise of elopement and had sex with Farrell after losing a leg, but her final transformation came from a female student who gave a subtle reminder that "you don't like mushrooms" and escaped from death. , Of course she can't compete with all other women who have already "awakened". The shaping of other female students is basically relatively simple. Although they have not yet been able to obtain the dominant position, as the principal’s followers and indeed frightened by Farrell, who is in a crazy state, they also chose to exclude their desires because the object of desire is no longer there. NS.
The subtle ridicule in the first two acts of the film suddenly changed after Dunst pushed Farrell down the stairs. In the third act, Farrell’s madness was in sharp contrast with the previous image of love, and the director’s handling ——I skipped the scene of sawing the legs directly (the scene where the wound was stitched in the first act was shot very realistically)——It caused a very sudden comedic effect, including the last supper after that (formed with the previous dinner) Contrast) is also quite happy. Here I would like to praise Dunst’s acting skills, probably worth an Oscar nomination (even though she is a role, but the heroine... I’m afraid the drama is not enough to mention Kidman), desire, depression, tolerance, The details of the transformation are well performed. What can also be capitalized close-up is the use of light in the film's paintings, restoring the indoor scene illuminated by candles, and has a fine capture of the beautiful outdoor light. The light effects, clothing and composition must have referenced the oil paintings of the same period. Watching on the big screen is indeed a good experience. As for why the drama is not developed enough...because the beginning, the succession and the transformation are all routines, and this film is still too well-formed, that little feminist attempt can completely make a breakthrough, but the result is still not grasped and headed directly to one. Classical sketches in indoor drama style. With the same similar setting, Almodovar can shoot "Dark Habits", and this setting is easy to develop in the direction of horror films, pornography and the like...It is not that the current processing is inappropriate. It is to say that in this era, what we are calling for is more innovative and breakthrough expressions.
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