Although the French female director Anne Fantine herself was not satisfied with her 2003 work "Nathalie", and she gave Irene Cresda Wilson The remake of "Chloe" directed by the screenwriter and Atom Igoyan is full of expectations, but some fans have preconceived that the old version is better.
After comparing the old and the new version, I feel that each has its own advantages, but the characters represented are different in temperament, and the new version is more bold in exploring the relationship between the two women. If you look at "Chloe" as a brand new movie , You will find that this is a film with good overall color, with clear structure, smooth rhythm, picture quality, and delicate lens movement. It seems that every shot that slides over the face of the character has an affectionate examination, and the character modeling is real and three-dimensional, which is quite modern. Sense, the rivalry of the two heroines is also very interesting.
Coincidentally, I recently watched two Julianne Moore films, a "Single Man" and a "Chloe". The roles are both lost middle-aged women, and one is more neurotic than the other. Of course, "Crow "I" has greater performance space and room for shaping, which is more suitable for acting Moore to play. Recently I also watched two films starring Amanda Seyfried, one "Break Up Letter" and one "Chloe". In terms of performance improvement, it is naturally "Chloe", not to mention the rare opportunity , And Moore Biao, if you accept the move, you can greatly hone and improve your acting skills.
Julianne Moore is very suitable for the tortured and self-tortured neurotic woman. She is good at using the gradual changes of eyes and facial expressions to express the inner activities of the characters. As a frequent guest of literary films, Moore is always devoted and full of inner dramas. The behavior of the subtext is the interpretation of the unforgettable women, even the lonely back can highlight the characteristics of the characters, such as "Magnolia", "Boogie Night", "The Moment", etc. This time, she played desperately. Woman Catherine, the inner drama is still rich, and every expression is worthy of fun.
Unlike the strong wife played by Fannie Ardant in the old version, Moore’s Catherine is very fragile, and her seemingly successful middle-class family is also very fragile, and it is easy to break the harmonious balance-the two in her life. Man—husband and son, these two pillars of her life have been alienating her recently, one is floating and the other is legitimate rebellion. Catherine has lost control of her marriage and family, she is lost and lost, unable to get to her family. For the opportunity to communicate, she chose to use an extreme way to intervene in this imbalance.
In fact, the new version of Catherine's mood is more complicated and more real. It is full of complicated and changeable mentality for her husband, son, and Chloe hired by her, with suspicion, jealousy, disappointment, helplessness, and unwillingness. Tangled, especially for the young, beautiful, fresh and delicate Chloe, the inadvertent admiration, the nostalgia for youthful beauty, the subconscious affection... all this made Catherine gradually confused and made her feel exhausted. And as a woman who loves family, the new version of Catherine is closer to those women who take home as their goal in life. The final communication with her husband David (played by Liam Neeson) came from the heart, tears down. It is easy to resonate with female audiences with potential mid-life crisis in reality. Some people criticized Catherine’s tears, thinking that she was like an abandoned woman begging for mercy. However, it was the fear, helplessness, talk and struggle of a "beautiful twilight" woman, a woman neglected by her family, this scene, screenwriter There is so much life, even a confident woman can't stand the scythe that it sweeps in the face of time.
Unlike the moody Natalie played by Emmanuel Baya, Amanda Seyfried’s Chloe has innocent eyes and a simple obsession with the people and things he loves, although Wandering in the high-level festivities, but her heart is clear and stubborn, and she is eagerly eager to love and be loved. In one scene, Chloe broke her knee and Katherine cleaned up the wound. Chloe looked at the other person’s big eyes and revealed a little girl-like infatuation, and the corners of her mouth were raised slightly, showing her inner heart. The temptation and the mood swings at this moment, as a new force in the show business, Seyfried's acting skills that reveal a subtle and complex mood in a flash show that she has a future.
It can be said that the film is a female drama, and the actor even M Neeson appeared to pave the way for the two women and promote the plot. There are two women in the film. One works and lives in a house with large glass windows. Everything about her is like a specimen display, while the other, with only professional characteristics, adopts a default state for her family background, as if that kind of life. The delicate flowers in the shade.
Canadian director Atome Igoyan, who has always only used film to make films, is very meticulous and euphemistic. The film is very textured and enjoyable. Of course, there is also an element of horror and eroticism, as if touching the extremely subtle world of women. The film uses a large number of mirrors and glass as props to allow the body and the mirror to reflect, refract or see through each other, thereby bringing out multiple lens vocabulary, extending the character's mood, and making the image more three-dimensional and plump.
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