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也许巩俐自己也闹不明白:为什么当她数年后身穿一袭旗袍、娉婷婀娜地在戛纳当评委的时候,她是那么地风情万种,被老外们惊为来自东方的天人,可她本人却偏偏是因为演了一个土得掉渣的农村孕妇而捧回了一座金狮;为什么当她演够了敢爱敢恨又备受折磨的苦命女人之后,却又很难在其她角色的身上重新找回创造的自信?而当她想在银幕上借小金宝来传递风情、借周渔来堆积情感时,却又为什么掌声稀落,甚至恶评如潮?答案不在风中飘,答案就在她身上:巩俐有着一股由内而外的中国乡土气息,这股气息隐隐约约却又根深蒂固。她的面部表情不够丰富,但却并不木讷;她的眼神不够灵动,但却足够倔强;她长得不够千娇百媚,却
Maybe Gong Li himself did not understand: why when she was dressed in cheongsam a few years later, graceful in Cannes when the judges, she is so demeanor, was foreigners were scared from the East Heaven, But she himself just happens to play a dirt dumped rural pregnant women and took back a Golden Lion; Why when she played enough dare to love and hate tortured woman, but it is difficult in its Her role to regain the creation of self-confidence? And when she wanted to borrow on the screen Xiaogao Bao to pass the style, by Zhou Yu to accumulate feelings, but why the applause sparse, or even critics? The answer is not in the wind floating , The answer is on her: Gong Li has an inner Chinese atmosphere from the inside out, this atmosphere is vague but deeply rooted. Her facial expression is not rich enough, but not stiff; her eyes are not smart, but stubborn enough; she was not Enough Enchanting, but