This week, Bridget Jones 3 was released, a romantic comedy about a beloved Briton who is trying to find out in her new film who her father is, old love Mr. Darcy or a new acquaintance. Bridget Jones - the heroine of the columns, and then the books - became a household name and changed the girls in the early 2000s, showing the woman in all her immediacy and vulnerability. Life around recalls other Roma heroines who forever changed the genre.
Mary, "Everything's Mad About Mary"
Directors: Bobby Farrelli, Peter Farrelli, 1998
A comedic detective about how the light converged on a perfect love from high school - blonde Mary, who is irresistibly played by Cameron Diaz. The Farrelli brothers shove a dozen shameful gags into the film - everyone remembers the fly in the toilet and the gel in the hair. But the secret, because of which everything is crazy about Mary, is probably that nothing can damage her radiant confidence. Mary is glad to herself as she is, does not treat people condescendingly and does not expect dividends for an attractive appearance. She does not abuse her influence on men and does not need proof of her worth at all. "Who needs it? I have a vibrator!" - she will say about the dubious cavalier and will be right: the former model and dancer Cameron Diaz looks only better when she completely ignores the rules of conduct for captured girls.
Dana Kowalczyk, "Only Girls in Jazz"
Producer: Billy Wilder, 1959
Not the most outstanding vocalist, turtle tail and boozer, but most importantly - a lonely girl who wants to meet, first of all, with a pretty millionaire. Dana Kowalczyk is charming and fresh, although Billy Wilder's classics are almost 60 years old. Marilyn Monroe with a ukulele, frivolous songs and exquisite toilets plays a girl from Prohibition, for whom the only window to a decent life is a successful party with a not-so-wealthy gentleman, although in fact Miss Kowalczyk likes saxophonists. Marilyn Monroe plays a naive and kind unlucky little fool so that her heart begins to beat somewhere in her stomach: when she pricks ice in the toilet or talks about giant fish in small cans, the film appears in color, not black and white. Capote called her "lovely child," and this film is proof of his accuracy.
Holly Golightly, "Breakfast at Tiffany's"
Producer: Blake Edwards, 1961
Having played Princess Anne and Sabrina, Audrey Hepburn brought to the screen the favorite literary image of her time - the New York woman-holder Holly Golightly, whose history several years earlier conquered America by Truman Capote. Her Holly (in the book she is younger and rougher in manners) claims to be subtle, but is as independent as she is funny. Refined images and rituals of self-care are needed by Holly to establish relationships and at the same time remain invulnerable without losing face. Its origin and past is a gentle irony on the theme of life in a metropolis and an autobiographical detail of Capote, who came to conquer the Big Apple from the American heartland. Written for Monroe, the role of Holly went completely different in the manner and organics of Hepburn, who never played the driven girl anywhere so touching and at the same time a real lady. Many superficially familiar with the book and the film do not even know that Miss Golightly is a Manhattan prostitute. After 40 years, her French alter ego in "Fatal Beauty" will brilliantly play Audrey Tautou - the action will take place on the Cote d'Azur.
Fanny Bryce, The Funny Girl
Producer: William Wyler, 1968
Actress and singer of fantastic charisma, Barbra Streisand received an Oscar for her role as American celebrity Fanny Bryce, who began with a vaudeville and shone on Broadway at the beginning of the 20th century. Growing up in a Jewish family and working as a teenager in the theater, Streisand in The Funny Girl largely reproduces the story of her own ascent - with dozens of castings, doubting looks and huge roles that are scary to take. The actress herself sings her part, is not shy about making faces and is not ashamed of her simple Brooklyn appearance. If there are girls who truly influenced the standards of beauty in Hollywood of the late 60s and diverted attention from Twiggy and the goddesses of classic Hollywood, then Streisand is clearly one of them. “What's the matter, doc?”, Filmed four years later, is another charming retro with Barbra, which is worth keeping up for the evening to fall in love with her forever.
Vivian, "Pretty Woman"
Producer: Harry Marshall, 1990
A huge breakthrough in the history of Julia Roberts, who, ten years later, will take the Oscar for the unyielding Erin Brockovich. For some, she’s the best in Notting Hill or Best Friend’s Wedding, but the beauty from Beverly Hills is the role that showed that nothing is impossible for Julia. Vivian is colossally inconsistent with the stereotypes of girls who earn prostitution, and looks too overwhelming for a desperate heroine who can barely make ends meet. The story of Cinderella is played out between a sensitive ambitious girl (her vulgarity quickly disappears nowhere) and a cool businessman who is looking for escort and relaxation, but finds the love of his life. "Pretty Woman" oozes convenient stereotypes about a knight on a white horse, while the game of Julia Roberts means exactly the opposite. She is clearly at odds with herself, suppresses the paternalistic tone and looks sharp, dazzling and independent. It is unclear how she wore these leather over the knee boots and still went outside, but the plot should fail for the scenes with a dessert fork and snails at dinner. Being stunning and funny is a luxury of acting.
Tiffany, "My Boyfriend Is Crazy"
Producer: David O. Russell, 2012
An Oscar is hard to get when you're 20, but Jennifer Lawrence took the well-deserved award for the very rare and well-written role of a young widow. Tiffany has lost her husband and is trying to learn how to live anew, the object of her new affection is also not quite healthy - a diagnosed bipolar, he does not always control outbursts of anger and avoids new relationships. Tiffany differs from others in that she is not ashamed to discuss antidepressants at dinner, she can directly say that she wants sex with the lights off, and is ready to come up with a joint lesson that will change life for the better and teach the injured guy and girl to trust each other again. Tiffany learns to work on herself, demands love and honesty, and lives with a reputation of local misunderstanding, which in fact hides vulnerability, integrity and rejection of hypocrisy. “I trusted you, and you condemned me” is one of the best scenes in the 2010s movie.
Producer: Jean-Pierre Genet, 2001
Fascinated to a greater extent by the games of the mind and fictional adventures than by people and their prosaic pursuits, the dreamer Amelie in postcard Paris, from which the sun does not disappear, is probably the symbol of European cinema of recent decades. Her black caret and hazel eyes are familiar to everyone, and most scriptwriters of romantic stories have somehow learned the habit of describing people and phenomena from the movie Jean-Pierre Genet. Amelie does not want to be understandable and seeks to attract attention: from a patient observer, she quickly turns into a player, interfering in the lives of everyone nearby, from colleagues at the Two Mills cafe to her father with anhedonia. Her love object is also bored, works in a sex shop and is looking for riddles and clues where no one else comes to mind. Immersed in herself not always by her own will, Amelie is a loner from a different era and a dreamy Paris of the past, who remained on postcards and disappeared into reality. Amelie would not start an account on Facebook, Tinder or Instagram - she chooses to start pancakes on the water, ride a moped and look at the world with her bare eyes, and not through screens.
Clementine, "Eternal Sunshine of the Spotless Mind"
Producer: Michelle Gondry, 2004
Michelle Gondry’s film based on the script by Charlie Kaufman about why we fall in love with unsuitable people over and over can be called a romkom and melodrama - depending on the mood, it has enough funny and really tragic. The director himself, who parted with the girl during the filming of the film, expressed in the heroes of Jim Carrey and Kate Winslet disgusting inclinations to explain ugly, look for shortcomings in each other and throw out irritation at the closest one. Clementine performed by Kate Winslet in the meantime is a delightfully complex heroine, neurotic and fixated on her own mistakes, painfully perceiving criticism and afraid of affection. She allows herself to act childishly, not strive for anything, dye her hair in crazy colors and do stupid things, but most importantly, she is not satisfied with the standards of behavior "for girls" and wants only one thing: transparent and deep partnerships.
Annie Hall, "Annie Hall"
Producer: Woody Allen, 1977
Strong and confident heroines existed long before Woody Allen wrote "Annie Hall", but his character - worked out with the role performer and director Diane Keaton - is a perfectly captured image of a city woman who does not need male patronage and does not see herself exclusively paired. Dressed in men's clothes, hanging out on opening days and meetings with friends, an active consumer of Manhattan pleasures, a bold debater, Annie Hall speaks on equal terms with everyone she meets. She has weaknesses and idiotic fears, but most importantly, she continues to live in reality when the film is already over. Annie Hall is a collective image of a smart and witty girl that every guy met, but did not appreciate her on time and missed the moment when the hobby turned into love.
Producer: Jason Wrightman, 2007
The fantasy fruit of a former stripper, blogger, and now director Diablo Cody, Juno's teenager turned out to be so convex, real and nagging that the film received an Oscar for the best screenplay. Pregnant Juneau performed by Ellen Page learns that one-time sex with a classmate led to irreparable consequences. Having abandoned the abortion, she thinks what to do with the child next - and finds support from all the most important people of her life: from dad with her stepmother to her cheerleader girlfriend and father of the child. Juno does not deceive anyone and does not know what he wants from life, but he tries very hard to listen to others and not to screw up. A romk about atypical love that begins after pregnancy, and about those qualities that help us grow up and be more responsible at any age, at 16 or 30. And yes, to Papa Juno's advice on who you should connect your life with, really worth listening to - perhaps it was thanks to them that his eldest daughter grew up so clever.
Sally, "When Harry Met Sally"
Producer: Rob Rainer, 1989
Harry met Sally a long time ago, so long ago that for many years he did not see her as a romantic opportunity - from teenage years to maturity alone, close friends know each other as flaky. Meg Ryan, an American favorite of the late 80s and early 90s, who played awkward, hilarious and infinitely pretty girls, portrays Sally through years and distances - with different styles and make-up. Meg and Billy Crystal are trying to figure out stereotypes about the friendship between men and women, their own affections and unspoken tricks. Possibly, a whole generation of authors capable of writing scripts for Sex and the City and Romcoms, among which pearls sometimes come across (for example, the recent More Than Sex or Friendship Sex), has grown from one episode with an imitation of orgasm in a restaurant.
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