Both China and the West have a consistent standard for measuring an actor's acting skills: whether he can play a low role. In the West, for example, Tom Hanks plays Forrest Gump. There are two actors in China who can play low: Deng Chao for men and Zhao Tao for women.
This is not really derogatory. There is a kind of actor soil, such as Zhang Yi, but this kind of soil is superficial, only different from various small fresh meat and the theme of the main theme. It has nothing to do with facial features. This is a kind of extraordinary temperament that cannot be suppressed in the bones. If others want to learn it, they can't go away, but they can't get rid of it if they want to. Jiang Wen's performance in Furong Town is still full of a sense of the times decades later, and it was ahead of the times at that time. Zhang Yi also has such a meaning. If in the United States, this kind of actor has the opportunity and space to become popular.
I was shocked by Deng Chao's performance in the scorching sun. Deng Chao has at least three personalities, the first is the real personality, the second is the entertainment personality, and the third is the local turtle personality. I often wonder what images of these kinds of personalities in the eyes of Deng Chao, if Chen Sir (played by Liu Qingyun) in the detective is asked to look at him. Deng Chao's real personality must have experienced too much before he can control the latter two personalities. After you have Zhang Youchi and you can freely retract it, you can spontaneously develop the kind of third-level earth turtle personality that seems to have entered the realm of transformation. For an actor like Deng Chao, only one word "serving" is enough.
Zhao Tao, on the other hand, is born with a rustic style, which complements Jia Zhangke's style. It has not only achieved the success of Jia Zhangke's several films, but also fulfilled Jia Zhangke's life. So the first time I found out that Zhao Tao was his wife, it felt like hearing about a senior manager becoming a partner.
From face to conversation, Zhao Tao is a kind of person, a kind of woman who can only exist in Beijing, Shanghai and Guangzhou: they are foreign in their hometown, and rustic in the city. , have their own opinions, their own principles, their own bottom lines, their own certain rules, and their own living methods. Their aesthetics are not fashionable, and they don’t know what kind of clothes look good on them, but they know what kind of clothes are fashionable and they shouldn’t wear them. Friends in dresses and skirts all know what I'm talking about), what kind of fashionable clothes they wear, they immediately drop two gears, they can't wear pretty or showy, and they can't wear aura, but Can wear out endless vitality. They have their own little happiness, their own little willfulness, clear love and hate, dare to love and hate, they can think about it when they are in trouble, and dare to say if they can't stand it. Compared with their backward hometowns, they agree more with the positive atmosphere of Beijing, Shanghai and Guangzhou. They always have positive energy. They are not vulgar like the chicken soup body in the circle of friends. They truly believe that life will be better after going through all kinds of adversity. No matter how low the clothes are, people will give them to them, or they will use their own Words and deeds win people's respect and trust.
It is this kind of woman, Zhao Tao stands in front of the camera, and she is alive.
I think this kind of woman is the representative of urban women in China in the new era. In a big city, all kinds of chiefs, chiefs, and seniors, and women, sisters, and wives in county towns are not considered Chinese female representatives. The so-called traditional virtues of these people are also expired. To say what is the significance of Jia Zhangke's films, I think it is to let more people see how a woman like Zhao Tao is living seriously in such an era.
From the platform, to the world, to the destiny, to the old friends of the mountains and rivers, if there is no Zhao Tao in these films of Jia Zhangke, there will be no meaning of existence. In fact, these films can be big stories in terms of subject matter and idea, but Jia Zhangke still shoots like that, and Zhao Tao still acts like that. Even the filming method of the cross-story line is destined (now, in the film, this method is basically similar to the rhythm of industrial 4.0 intelligent manufacturing PPP), but it did not make a b-frame. But I couldn't help but want to see Zhao Tao, it reminds me of what kind of life such people are, what kind of life they may be living, and how should I live in such an era. Because I know it's real.
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