This year, The World’s End, starring Anne Hathaway, was selected for the main competition at the Cannes Film Festival, and she is one of the contenders for this year’s posthumous award.
Appearing on the red carpet, she had the feeling of having found her home turf. Her simple white trailing dress and casually worn down hair made her look languid and relaxed.
It was a big win without having to be styled, so perhaps it’s called a four-for-one look. Hair stylist Adir Abergel shared this set of departure photos, which conveyed the same vibe.
There is no lighting set, just a hotel room used to rest before the red carpet, with clothes on the sofa and a row of staff standing at the door, Anne Hathaway is not even in the centre of the frame at some points, but she is still eye-catching enough.
The life of a beautiful woman is that she looks good in every frame she is cut from. In a photo call for the cast of The World’s End, she puts on her princess hair and alien sunglasses, and the moment she turns her head, the photographer and the camera behind her become the exclusive backdrop.
Full of coincidences, humorous and cute at the same time.
Three sets of pictures in just a few days – she is Anne Hathaway after all.
When the term “American sweetheart” is mentioned, the two actresses most easily associated with it are Britney Spears and Anne Hathaway. The former has blonde hair and a healthy complexion, giving her a confident and powerful look.
The latter is characterised by her brown hair, fair skin and voluptuous figure. Like a Barbie doll in a window, not beautiful enough to land on the floor.
You can hardly imagine her standing on a rugby field cheerleading in the same way as the girls in American dramas in super short skirts, because she has a natural sense of quiet ambience.
So she’s not just a sweetheart, she’s also a “princess”. The Princess Diaries, in 2001, took her to the top. Set in an American schoolyard, Anne Hathaway’s Mia, with her woolly curls and black-rimmed glasses, is so ordinary that her teachers forget her name, not to mention her involvement in the school gangs.
Just before her 16th birthday, she is told that she is the heir to the throne and will be attending the National Ball as a princess. And so the old “ugly duckling to swan” drama unfolds.
■Source: Sina Weibo @Girlstagram
With her hair straightened, her glasses removed, her eyebrows fixed, and a series of grooming exercises, her look was transformed in less than two hours, so much so that she made everyone feel confident about her future.
In fact, we all know that an ugly duckling doesn’t turn into a swan that easily, unless she’s Anne Hathaway. It has often been said that “Anne Hathaway has a royal face”. The soft tissue-filled pointy face and the droopy eyes full of innocence are enough to emphasise the princess’s juvenile form and dexterity.
▪ The Other Side of Paradise
Her smile is also bright and generous enough. She may not have the confidence and bravado of a female lead in an American drama, but the impression she brings is still sunny and bright.
Even though she has turned ugly in many ways in The Princess Diaries, you can still see this superior base of hers.
▪ The Enchanted Cinderella
But her debut was her peak, and her peak was her “cage”, so Anne Hathaway probably didn’t realise how hard it would be to get rid of the princess label.
In her fourth year of success as a princess, she enrolled at NYU, the same year she began to take on sexy, debauched roles in films. In Brokeback Mountain she was a cowgirl with a Texas accent, and in Pretty Woman she was a foul-mouthed rebellious rich girl.
▪ “A Good Day to Die Hard
▪ Brokeback Mountain
And the weary drug addict in Rachel’s Wedding.
But only subversive, not addictive enough. It proves that she can act, and it’s not enough.
In Alice in Wonderland, released in 2010, Anne Hathaway plays the White Queen, in a gorgeous, dreamy palace, with a false smile, half demure and half insane. The character’s characteristics seem to correspond to the criticism levelled at Anne Hathaway in those years. “sycophantic,” “scheming,” “fake with a smile.”
Batman: The Dark Knight Rises finds her as Catwoman, a cunning and dangerous character compared to other female characters in superhero films, not a sidekick to the hero as he saves the day, nor an accent to the hero’s halo.
She is sexy and dangerous as she drives a motorbike through the streets of Gotham City in a black leotard. The same can be said for her in The Conjuring, where she looks innocent and deceptive, but actually sees through the tricks of those around her.
In the first part of the film, she plays the person she is seen to be, a woman with big breasts and no brain, unaware that her necklace has been secretly switched. Towards the end, she changes her outfit, her intelligence suddenly comes on line and she starts to discuss an alliance with the female thieves who stole the necklace to join in and get a piece of the action.
In her case, you can see multiple definitions of sexiness. Sexiness is not about a young face and a superior body, it’s not about being naked or not, and it’s not entirely determined by what clothes you wear or what hairstyle you wear.
Cat femininity, not because the tights emphasise the curves, but because she is mysterious and complex.
Daphne, the actress in “The Beauty of the World”, is sexy, not because of her low-cut dress, but because of the contrasts in her body, which mobilises everyone’s curiosity and makes them feel “interesting”.
Recently there has been a lot of talk about ‘sexy and frumpy’, and therein lies the difference.
There is intelligence and confidence behind sexiness, and because of this, the sexiness we see is complemented by a bright, airy smile.
The edge is purposeful, and behind it is cleverness, a trick that can be easily detected, so it is easy to look rushed and petty.
Anne Hathaway at the premiere of The Rise and Fall of WeWork, lying across a cinema chair for a photo shoot, you won’t think she’s rubbing it in, you’ll just think she’s sexy and elegant, and that there’s no bottleneck in beauty, even at 40.
