Tired of being both typecast and being passed over for lead Asian character roles in favor of non-Asian actresses, Wong left Hollywood in 1928 for Europe.Interviewed by Doris Mackie for Film Weekly in 1933, Wong complained about her Hollywood roles: "I was so tired of the parts I had to play."She commented: "There seems little for me in Hollywood, because, rather than real Chinese, producers prefer Hungarians, Mexicans, American Indians for Chinese roles."
回首某一集中，三个因为小儿受虐而致使年长后变态犯下命案的刺客归案后，Hotch说了一句：经历过这种童年的人，当中一部分会变成你如此。那多少个Some of you听起来，余音回旋不绝，明显刀客有同感，所以被押走前蓦地问：“另一有的吗？”Hotch瞧着她，逐步说：“另一局地（没产生变态的）人则成长为抓你们的人。”那多少个片断影像至深，极其轻巧的一句话，令人歌声绕梁。关于各位探员的背景和成年人经验，片中绝非特意说起，但在好玩的事剧情中会留下一点一望可知。这一集，让我们来看，居家好女婿，把家庭看得比较重的Hotch其实有个极其不欢腾的童年。幸而，他身残志坚地成长为三个令人得以感到心安的好好先生，贰个温存的孩他爹，多少个慈善的老爹，一个有手艺爱护自个儿友人的探员。
It is 50 years since Mary Poppins appeared on cinema screens. The film presented a very particular view of middle-class family life, but have movies influenced how people think about parenting?
In Europe, Wong became a sensation, starring in notable films such as Schmutziges Geld and Gro€€stadtschmetterling . Of the German critics' response to Song, The New York Times reported that Wong was "acclaimed not only as an actress of transcendent talent but as a great beauty". The article noted that Germans passed over Wong's American background: "Berlin critics, who were unanimous in praise of both the star and the production, neglect to mention that Anna May is of American birth. They mention only her Chinese origins."In Vienna, she played the title role in the operetta Tschun Tschi in fluent German.An Austrian critic wrote, "Fr€€ulein Wong had the audience perfectly in her power and the unobtrusive tragedy of her acting was deeply moving, carrying off the difficult German-speaking part very successfully."
BTW: REID的饰演者Matthew GrayGubler不算太知名(可能笔者管窥之见吧)，百度也摆不出什么音讯。在CM的官方网站上，马特hew的素材拾叁分简便，寥寥几行：
马特hew Gray Gubler has appeared in the feature films "Evoque.V." and "The Life Aquatic with Steve Zissou." A 二〇〇二 graduate of the NYU's Tisch School of the Arts, he is an accomplished filmmaker whose short films include "The Cactus That Looked Just Like a Man," "Claude: A Symphony of Horror" and "Tippi's Picnic." As a model, Gubler has walked the runway for such fashion designers as Marc Jacobs, Calvin Klein and Louis Vuitton. He was featured in Paper Magazine's 8th annual Beautiful People issue. Born and raised in Las Ve瓦斯, he lives in Los Angeles. His birth date is March 9.（马特hew曾演过轶事片汉兰达.V.以及The Life Aquatic with SteveZissou。贰零零贰年毕业于London高校Tisch学院艺术规范。他是个成熟的发行人，作品满含短片“像人一致的神灵掌”、 “Crowder：一支恐怖的交响曲”以及“Tippi的野餐”。作为八个模特儿，马特hew曾为Marc Jacobs,巴宝莉和Hermès这一个服饰设计员走秀，入选PAPE汉兰达杂志第八届年度最精粹丽的女生士，是那期的封面人物。出生成长于新奥尔良，现位居第一位尔，出生之日是十二月9日。——以上，自个儿翻译，大概不太可相信，但应有不至于有太大错误。）
Mary Poppins taught parents many things. Bedrooms are better tidied, every chore has its fun side and an organised day is a happy day. Poppins's strict-but-saccharine manner brought the unruly Jane and Michael Banks under control - she succeeded where their parents and numerous lesser nannies could not。
Though decades old, Poppins's techniques are still lauded by parents。
While in Germany, Wong became an inseparable friend of the director Leni Riefenstahl. Her close friendships with several women throughout her life, including Marlene Dietrich and Cecil Cunningham, led to rumors of lesbianism which damaged her public reputation.These rumors, in particular of her supposed relationship with Dietrich, embarrassed Wong's family who in any case had long been opposed to her acting career, at that time not considered to be an entirely respectable profession.
Childcare blogger Kenney Myers describes her as "the gold standard", while parenting expert Michael Grose says there are some key parenting lessons to learn from Poppins。
The relationship between parents and children, or nannies and children, is one often explored in films. It can result in a strange osmosis for viewers。
London producer Basil Dean bought the play A Circle of Chalk for Wong to appear in with the young Laurence Olivier, her first stage performance in the UK. Criticism of her California accent, described by one critic as a "Yankee squeak", led to Wong seeking vocal tutoring at Cambridge University, where she acquired a British accent. Composer Constant Lambert, infatuated with the actress after having seen her in films, attended the play on its opening night and subsequently composed Eight Poems of Li Po, dedicated to her.
"The things we can learn from Mary Poppins is how important boundaries are, and the role that they play in raising children," says Bernie Wooder, a psychoanalyst who uses "film therapy" as part of his treatment technique。
London的发行人兰香€€迪安为买下了《粉笔圈》，让黄与当下还很年轻的劳伦斯€€奥立佛同台，那也是他在United Kingdom的第二遍演出。一人冲突家描述她加州捷克语是 “吱吱的美利坚联邦合众国佬口音”，如此的钻探让黄有了在伊利诺伊香槟分校大学找语音老师指点的主见，随后她便在这里通晓了中式葡萄牙共和国语。作曲家康Stan特€€兰Bert在看了那位女艺员的影视小说后为她着了迷，不但参与了开幕式，随后谱写了《栗泊的八首诗》，献给她。
"When she comes along she brings organisation and it appears to look like magic because everything starts to go right. It's an effective lesson."
Wong made her last silent film, Piccadilly, in 1929, the first of five English films in which she had a starring role. The film caused a sensation in the UK.Gilda Gray was the top-billed actress, but Variety commented that Wong "outshines the star" and that "from the moment Miss Wong dances in the kitchen's rear, she steals 'Piccadilly' from Miss Gray." Though the film presented Wong in her most sensual role in a British film, once again she was not permitted to kiss her Caucasian love interest and a controversial planned scene involving a kiss was cut before the film was released.Forgotten for decades after its release, Piccadilly was later restored by the British Film Institute.Time magazine's Richard Corliss calls Piccadilly Wong's best film,and The Guardian reports that the rediscovery of this film and Wong's performance in it has been responsible for a restoration of the actress' reputation.
While in London, Wong was romantically linked with writer and broadcasting executive Eric Maschwitz, who wrote the lyrics to These Foolish Things as an evocation of his longing for her after they parted.Wong's first talkie was The Flame of Love , which she recorded in French, English and German. Though Wong's performance €€ particularly her handling of the three languages €€ was lauded, all three versions of the film received negative reviews.
During the 1930s, American studios were looking for fresh European talent. Ironically, Wong caught their eye and she was offered a contract with Paramount Studios in 1930. Enticed by the promise of lead roles and top billing, she returned to the United States. The prestige and training she had gained during her years in Europe led to a starring role on Broadway in On the Spot,a drama that ran for 167 performances and which she would later film as Dangerous to Know.When the play's director wanted Wong to use stereotypical Japanese mannerisms, derived from Madame Butterfly, in her performance of a Chinese character, Wong refused. She instead used her knowledge of Chinese style and gestures to imbue the character with a greater degree of authenticity.Following her return to Hollywood in 1930, Wong repeatedly turned to the stage and cabaret for a creative outlet.
With the promise of appearing in a Josef von Sternberg film, Wong accepted another stereotypical role €€ the title character of Fu Manchu's vengeful daughter in Daughter of the Dragon . This was the last stereotypically "evil Chinese" role Wong played, and also her one starring appearance alongside the only other well-known Asian actor of the era, Sessue Hayakawa.
Wong began using her newfound celebrity to make political statements: late in 1931, for example, she wrote a harsh criticism of the Mukden Incident and Japan's subsequent invasion of Manchuria.She also became more outspoken in her advocacy for Chinese American causes and for better film roles. In a 1933 interview for Film Weekly entitled "I Protest", Wong criticized the negative stereotyping in Daughter of the Dragon, saying, "Why is it that the screen Chinese is always the villain? And so crude a villain €€ murderous, treacherous, a snake in the grass! We are not like that. How could we be, with a civilization that is so many times older than the West?"
2. 摄像《窈窕奶爸》(Mrs Doubtfire)
Anna May Wong and Marlene Dietrich in Shanghai Express
Wooder adds that he prescribed the viewing of the Robin Williams film Mrs Doubtfire for one father。
Wong appeared alongside Marlene Dietrich as a self-sacrificing courtesan in Sternberg's Shanghai Express.Her sexually charged scenes with Dietrich have been noted by many commentators and fed rumors about the relationship between the two stars. Though contemporary reviews focused on Dietrich's acting and Sternberg's direction, film historians today judge that Wong's performance upstaged that of Dietrich.
The film sees Williams play Daniel Hillard, a dad who loses custody of his children following a divorce. In his desperation to see them, he ends up dressing up as a woman, complete with a false nose and twin sets, and putting on a Scottish accent to win the job as their nanny。
"That film really helped one of my clients because it expressed the level of frustration that he was feeling - that he was prepared to do anything at all to spend time with his kids," adds Wooder. Using a disguise to bypass custody arrangements is obviously inadvisable in the real world but the film offers a lesson about closeness。
"Films are a remarkable tool for helping people learn, it's about recognising a feeling or an atmosphere and taking some time to just sit, watch and consider it."
In both America and Europe, Wong had been seen as a fashion icon for over a decade. In 1934, the Mayfair Mannequin Society of New York voted her "The World's best-dressed woman" and in 1938 Look magazine named her "The World's most beautiful Chinese girl".