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Waldorf Astoria 华尔道夫酒店

There’s a reason why so many films are made about Marilyn Monroe. Her life reads like a cautionary tale, containing every device used to evoke an audience’s sympathy – the sad childhood; the rag-to-riches rise to fame; the realization money can’t bring happiness; the spiral downwards into darkness. Monroe’s popularity is enduring. In her time she represented a new type of character in Hollywood. Elusive and glamourous, other actresses played up the noir elements of their sexuality, teasing the men they shared the screen with. They felt altogether inaccessible to the common theatre-goer. Monroe was different. She was fun, her childlike openness and innocence the exact opposite of calculated allure. Her characters made flirting fun, not dangerous, and she laughed with the male leads, not at them. Yet off the screen things were not so easy. She seemed to lack control over her own destiny, perhaps leading Philippe Parreno to portray her the way he did.

This isn’t the first time Parreno has chosen an icon as his subject. In 2006 he created a documentary chronicling the story of footballer Zinadine Zidane. His 2012 masterpiece, Marilyn, was first shown at the Foundation Beyeler. It’s the cinematic techniques that set this film apart. Filmed in the Waldorf Astoria, America’s iconic hotel, utilizing modern technology, the actress’ voice and handwriting is digitally reconstructed for use on the screen. The effect of this eerie half-woman, half-computer voice is oddly gripping. You never get a glimpse of Monroe as the piece is filmed mostly from her point of view; yet you get the feeling that if you did ‘she’ would be a terrifying caricature. The subtle phantasmagoric elements give the film a spooky charm.

The Waldorf Astoria, bought by Chinese insurance company Anbang in 2014, has been the hotel of choice for presidents since it opened. The original site was where the Empire State Building now stands, its current location close to Grand Central Station and it boasts a not-so-secret underground platform. It has been called home by some of the best entertainers, including Frank Sinatra, and Marilyn Monroe herself,who lived there for a time in 1955.

It is fitting therefore that Yi Zhou should have chosen to do a shoot at the Waldorf Astoria in Shanghai. Wearing Chanel, she recreates elements of the film for an elegant new art work, while channeling a woman who has been such an inspiration to her. It’s still debated as to whether Monroe’s death was an accidental overdose or a suicide, and it is unlikely that any new evidence will come forward fifty years later. However, Monroe’s films and life remain fixed in the annals of Hollywood history and in the memories of her many devoted fans.

这么多关于玛丽莲·梦露的电影是有原因的。她的生活,像是一个警世的故事,包含每一个足以唤起观众共鸣的元素。伤感的童年;白手起家,一夜成名;金钱买不了快乐的觉悟;急转直下陷入黑暗。梦露的人气经久不衰。她在世的时候她代表着好莱坞的一种新形象。难以捉摸而又迷人,其他的女明星们扮演了性感的黑色元素,戏弄与她们共享银幕的男人们。对于普通电影迷来说她们感觉完全不可接近。梦露与众不同,她很有趣,她有着孩童般的开放和纯真,而不是蓄意的诱惑。她有一种调情一样的有趣,不带危险,她和男演员们一起大笑,而不是嘲弄他们。然而银幕之后的生活并没有那么简单,她似乎掌控不了自己的命运。也许正因如此菲利普•帕雷诺塑造出了他眼里的梦露。

这不是帕雷诺第一次选择一个名人作为他的创作主体。2006年,他创作了一部纪录片记录了足球运动员齐内丁·齐达内的故事。他2012年的巨作“梦露”在贝耶勒基金会美术馆首次展示,紧接着又出现在了其他展览上,包括著名的第55届威尼斯双年展。这个影片充分利用了电影技术。拍摄在美国的标志性酒店华尔道夫,并利用现代科技,将女演员的声音和笔迹数字重建并呈现在屏幕上。这种半人半电脑的声音有种奇怪的扣人心弦的效果。你永远不会得到梦露的一瞥,因为这些素材主要是从她的角度拍摄;但是你会感觉如果她看你的话,会像是一副骇人的讽刺画。微妙的变幻不定的元素给了电影幽灵般的魅力。

华尔道夫酒店,2014年被中国安邦保险集团收购,自开业起就一直是领导人们下榻酒店的首选。原址在现在的帝国大厦的位置,现在的位置靠近大中央车站。它还拥有个不那么神秘的地下平台。它被很多艺人明星当作是家,包括弗兰克·辛纳屈,以及1955年在那住了一段时间的玛丽莲·梦露本人。

因此周依选择上海华尔道夫酒店作为拍摄场地再合适不过。她身穿香奈儿,优雅的为一个新艺术品重塑了电影里的元素,传达了她的灵感女神的形象梦露的死究竟是意外的用药过多还是自杀,仍然饱受争议,而且五十年后的今天依旧没有新的证据出现。但是,梦露的电影和生活一直铭刻在好莱坞的史册上,和她忠实的粉丝们的记忆里。

 


ⒸYiZhou

 

Waldorf Astoria 华尔道夫酒店


There’s a reason why so many films are made about Marilyn Monroe. Her life reads like a cautionary tale, containing every device used to evoke an audience’s sympathy – the sad childhood; the rag-to-riches rise to fame; the realization money can’t bring happiness; the spiral downwards into darkness. Monroe’s popularity is enduring. In her time she represented a new type of character in Hollywood. Elusive and glamourous, other actresses played up the noir elements of their sexuality, teasing the men they shared the screen with. They felt altogether inaccessible to the common theatre-goer. Monroe was different. She was fun, her childlike openness and innocence the exact opposite of calculated allure. Her characters made flirting fun, not dangerous, and she laughed with the male leads, not at them. Yet off the screen things were not so easy. She seemed to lack control over her own destiny, perhaps leading Philippe Parreno to portray her the way he did.

This isn’t the first time Parreno has chosen an icon as his subject. In 2006 he created a documentary chronicling the story of footballer Zinadine Zidane. His 2012 masterpiece, Marilyn, was first shown at the Foundation Beyeler. It’s the cinematic techniques that set this film apart. Filmed in the Waldorf Astoria, America’s iconic hotel, utilizing modern technology, the actress’ voice and handwriting is digitally reconstructed for use on the screen. The effect of this eerie half-woman, half-computer voice is oddly gripping. You never get a glimpse of Monroe as the piece is filmed mostly from her point of view; yet you get the feeling that if you did ‘she’ would be a terrifying caricature. The subtle phantasmagoric elements give the film a spooky charm.

The Waldorf Astoria, bought by Chinese insurance company Anbang in 2014, has been the hotel of choice for presidents since it opened. The original site was where the Empire State Building now stands, its current location close to Grand Central Station and it boasts a not-so-secret underground platform. It has been called home by some of the best entertainers, including Frank Sinatra, and Marilyn Monroe herself,who lived there for a time in 1955.

It is fitting therefore that Yi Zhou should have chosen to do a shoot at the Waldorf Astoria in Shanghai. Wearing Chanel, she recreates elements of the film for an elegant new art work, while channeling a woman who has been such an inspiration to her. It’s still debated as to whether Monroe’s death was an accidental overdose or a suicide, and it is unlikely that any new evidence will come forward fifty years later. However, Monroe’s films and life remain fixed in the annals of Hollywood history and in the memories of her many devoted fans.

这么多关于玛丽莲·梦露的电影是有原因的。她的生活,像是一个警世的故事,包含每一个足以唤起观众共鸣的元素。伤感的童年;白手起家,一夜成名;金钱买不了快乐的觉悟;急转直下陷入黑暗。梦露的人气经久不衰。她在世的时候她代表着好莱坞的一种新形象。难以捉摸而又迷人,其他的女明星们扮演了性感的黑色元素,戏弄与她们共享银幕的男人们。对于普通电影迷来说她们感觉完全不可接近。梦露与众不同,她很有趣,她有着孩童般的开放和纯真,而不是蓄意的诱惑。她有一种调情一样的有趣,不带危险,她和男演员们一起大笑,而不是嘲弄他们。然而银幕之后的生活并没有那么简单,她似乎掌控不了自己的命运。也许正因如此菲利普•帕雷诺塑造出了他眼里的梦露。

这不是帕雷诺第一次选择一个名人作为他的创作主体。2006年,他创作了一部纪录片记录了足球运动员齐内丁·齐达内的故事。他2012年的巨作“梦露”在贝耶勒基金会美术馆首次展示,紧接着又出现在了其他展览上,包括著名的第55届威尼斯双年展。这个影片充分利用了电影技术。拍摄在美国的标志性酒店华尔道夫,并利用现代科技,将女演员的声音和笔迹数字重建并呈现在屏幕上。这种半人半电脑的声音有种奇怪的扣人心弦的效果。你永远不会得到梦露的一瞥,因为这些素材主要是从她的角度拍摄;但是你会感觉如果她看你的话,会像是一副骇人的讽刺画。微妙的变幻不定的元素给了电影幽灵般的魅力。

华尔道夫酒店,2014年被中国安邦保险集团收购,自开业起就一直是领导人们下榻酒店的首选。原址在现在的帝国大厦的位置,现在的位置靠近大中央车站。它还拥有个不那么神秘的地下平台。它被很多艺人明星当作是家,包括弗兰克·辛纳屈,以及1955年在那住了一段时间的玛丽莲·梦露本人。

因此周依选择上海华尔道夫酒店作为拍摄场地再合适不过。她身穿香奈儿,优雅的为一个新艺术品重塑了电影里的元素,传达了她的灵感女神的形象梦露的死究竟是意外的用药过多还是自杀,仍然饱受争议,而且五十年后的今天依旧没有新的证据出现。但是,梦露的电影和生活一直铭刻在好莱坞的史册上,和她忠实的粉丝们的记忆里。

 


ⒸYiZhou