Tilda Swinton turned 56 the other day - a delightful actress and a model of good taste and free thinking, who works with the best directors of our day, makes art and looks like an alien we did not deserve. We understand the phenomenon of Swinton's personality and recall the early films from her filmography, in which Tilda played before she was discovered in Hollywood.
“Dear I, I hope you have lived this long life and have always been surrounded by wonderful dogs and wonderful friends,” - this is the wish of an 80-year-old Matilda Swinton, 15, while studying at a private school. Her main joy and luck, she admits in an interview, that she lives like this now: Tilda prefers silence to parties, eternity and reading to conversations, friendship to a career, and a house with dogs and chickens to a mansion in the Hollywood hills. In her confessions about how the actress organized her life, one feels coquetry - they say, if the designers did not send outfits as a gift, there would be nothing to wear: she feels so uncomfortable in fitting rooms. However, long-term observation of Tilda Swinton in films and interviews makes it clear that she is not at all interested in cheating, pardoning or composing - one of her most amazing properties, according to many reporters, is to gently dissolve in the crowd, being alone with everyone, not acting and not pretend.
Lady Dee's classmate, Tilda Swinton is the daughter of a proud military Scottish family - a real unfulfilled duchess and almost heir to titles and castles. "Appearance is part of our tribe," the actress comments on her genes: tall stature, common cheekbones for the Swintons, red hair and body structure. While the ancestors of the male actress from the 9th century went on exploits, the daughters of the family languished in the towers in anticipation of the prince. Swinton is describing a scenario played out by many women in the family: decent boarding school, good acquaintance, the right game. A theater company, filming in warehouses in films without a budget, reading poetry and classics, friendship with artists and poetry were not included in the life scenario of an aristocrat: blue blood allowed artists to be friends, but not to become one of them.
Excommunicated in a private school from youth culture, Swinton came to London when she was already in her 20s, an inexperienced person from another dimension and lived her first years in a new place with income from horse racing: the servants in the family estate taught Swinton to determine the winning horse by gait, by the way and appearance. Before London, there was volunteering in Africa and participation in the Communist Party, as well as philology in Cambridge - but this whole experience was nullified when Swinton from a conservative background entered the wide world of people who have nothing to lose and who have just survived The Clash and Sex Pistols.
In life, Tilda prefers to walk with a minimum amount of makeup and admits that she dreams of living to 90, as the heroine of the Grand Budapest Hotel
A man without fear, on whom his parents did not pin their hopes - London in the 80s was filled with such people, and the aristocratic Swinton was just one of 1,000 bohemian inhabitants. “Last Look at England” is a film by Derek Jarman, in which Matilda, who became Tilda, tears apart the pearls and dresses that are strangling her and presents the image in a state of painful transition: from a chrysalis to a butterfly. It was this meeting with the British avant-garde artist and his crowd of poor, enthusiastic and anarchic collaborators that Tilda owes her life in art. Once in the field of experiments, she forever linked work with joy, and creativity with love - since then, in long-term relationships, she relies only on personal sympathy and consonance in tastes.Jim Jarmusch, Wes Anderson and the Coen brothers are her interlocutors, while The Beach, Constantine, We Need to Talk About Kevin, The Girl Without Complexes or Through the Snow are high-budget trailers of her intimate and intimate films., to which Swinton breathes unevenly and with whom he actually associates himself.
Hollywood discovered Tilda after her icy role as the Witch in The Chronicles of Narnia, which inspired designers for crystal dress and gave a gateway to the world of $ 700 million in films. Horse racing is out of the question, and Tilda continues to invest in film production and work as a fundraiser for small projects. “My Hollywood is a big campaign for my real films,” Tilda says of the duality of filmography since the early 2000s. She explains acting skills as the ability to be an ideal projection for the viewer and speaks of the continuity of the game and the thirst for instant discovery on the set. Although she finds warm words even for the Witch from Narnia or the Elder in Doctor Strange, Swinton turns into a real poet when he talks about his favorite films - the vampire melodrama Only Lovers Left Alive or the duet with George Clooney in Michael Clayton. for which Swinton suddenly received an Oscar for herself.
She was one of the first who was not afraid to tell the press about an open marriage: in addition to her husband, with whom the actress is raising children, she has a boyfriend
Confident from her youth that her star would rise at 40, Swinton deliberately avoided big movies and starred in Britain a lot, not even thinking about her American career. Her condescending stance towards her own appearance does not seem entirely sincere until you study all of Swinton's interviews about age, time and beauty. Convinced that plump lips, wide-open eyes and feminine forms impose difficult behaviors, Tilda prefers to wear a minimal amount of makeup in her life and in the age of rejuvenation treats her own age with respect, admitting that she dreams of living to 90, like the heroine of the Hotel Grand Budapest ".
Having married and having given birth to twin children, she was one of the first to be afraid to tell the press about an open marriage: in addition to her husband, with whom the actress is raising children, she has a boyfriend - and that calmness and conviction with which Swinton tells greedy tabloids about his personal life, gives new optics for the media discussion about the modern family. “My home is a zone free of shame” - Swinton's straightforwardness and her unwillingness to justify her own choices - another life scenario of Lady Dee's generation, a reversal of the tale of an exemplary partnership, under which neuroses are buried - a frequent theme of Swinton's roles. An alien guest who grows a carrot on the seashore and believes in Hayao Miyazaki, and not in God, at some point will write the best letter in the world to his growing son, where he will forever assert his right to fight on the screen and in life “for a shoe that comes off the heel and the movement of the foot to correct him, for a broken egg and spilled milk. " There are no wrong answers, mistakes can be corrected, the main thing is that there is no boredom.
Five more great films with Tilda Swinton
A mesmerizing film adaptation of British classics and feminist prose, an inspiring example of how to handle a literary source and a role that Tilda Swinton is still perhaps most proud of. The story of Orlando, traveling through centuries, eras and gender boundaries, is one of the most personal and emotional expressions of Virginia Woolf, who struggled with her destined social role and dependence on others. The shackles of public rituals and a desperate demand for independence are embodied in the Scottish image of Swinton, who promises on screen much more than he says.
Sally Potter's Orlando is a five-year exercise film and is the result of a warm friendship between actress and director: the emotion that, Swinton says, builds her best connections and films. It is impossible to imagine another person in this image: androgyny, the simultaneous integrity and contradiction of a person who likes to be silent, dream and worry more than to talk - Tilda grew up on the screen with the heroine and told her her mutations: from a girl in love with theater and art from a privileged family to a person for whom acting and freedom will become the main choice in life.
A gloomy thriller, mixed with Dostoyevshchina and the nebulae of the British landscape, is not the most obvious and therefore somewhat striking movie starring Swinton and Evan McGragor. Noir is made up of the usual arrangement: here is an ambitious, but not very consistent young writer with great ambitions. His work does not argue, and he is glad to be distracted - by the lonely and brooding beauties on the shore or the wife of the captain of the barge. Women tease pride and help pass the time, but the more time the protagonist spends on them, the more difficult and painful the goal becomes - to write something for eternity.
Tilda Swinton in a simple dressing gown, with thin legs and a disheveled head, at the same time stunted and attractive, stern and tender, suddenly becomes a magnet for a young author - a woman from the poor, in which, unlike a bored hero, the flame of a simple and understandable life burns … One can be fatal without being fatal - in this role, Swinton shows the simplicity of magnetism.
Love is the devil
The Guardian critic called the film about passion and painting by Francis Bacon - "much more than a biopic and much less than a biopic": one way or another, successful paintings about artists without speculative melodramatic tone and rounding are still to be looked for. "Love is the Devil" is the story of the dark, crushing love of a painter with a decadent reputation and a young robber who broke into the studio for easy money and became his love, model, inspirer and master of thought.
The poignant British accent played by Derek Jacoby and Daniel Craig is one part of the tragic story. Tilda Swinton, swearing, loud, with a familiar manner and chopped gestures, plays another part of the artist's public tragedy. In this film, she plays one of the main figures in Bacon's life - Muriel Belcher, the owner of the famous underground bar with green walls "Colony", a born entrepreneur and self-serving sponsor who drank Bacon for useful contacts with influential and famous. The director of the film takes the artist out of sketches of everyday and brutal relationships with others, where “mommy” Muriel played almost the first violin: it is no coincidence that the biopic is called an etude of compact situations of contradictions, frustrations and despair.
Derek Jarman's film and also a biopic about a painter - it is no coincidence that Swinton calls himself with more pleasure an artist than an actress - one of the examples of independent and inexpensive cinema that can pierce the audience into the heart. "Caravaggio" is a stingy, perfectly calibrated production about the work process and life of one of the main Baroque artists - in communication with models, friends and foes.
Filmed in the penny lofts of London shipyards, the film is built in terms of light and composition exactly like the painting of an Italian master. We look at the last years of Caravaggio's life, where there is a wounded pride, an obsession with models and a desire for self-destruction. The role of Tilda Swinton - a rare guest-woman in the artist's studio and a participant in a love triangle, in which there is no unequivocal outcome. Arrogant, with a shock of fiery hair and white skin - after her debut with Jarman, the actress became his close friend and constant colleague, starring in seven main films of the director over several years.
At the very bottom
Not a very well-known and worthy crime film, which largely rests on the main character - the anxious mother Margaret played by Tilda Swinton: a difficult, stubborn, frightened and at the same time decisive woman who is forced to cover her son. Her child - one of three children in the family - a gay teenager with the prospect of starting life differently and breaking out of the stifled provincial world, becomes the cause of tragedy and a source of worries for the whole family. The eternally absent father in the voyage makes the heroine Swinton alone to resist blackmail and exposure. “At the Bottom” is a remake of the famous film noir of the late 40s. Unlike many alterations, it has become a self-valuable film, in the dynamics of which you can easily believe. The mirror role of Tilda Swinton in the middle of an unhappy family in a state of anxiety and fear of exposure - in Tim Roth's "War Zone", where the actress played the future mother inside a doomed house.
Photos: Warner Bros., Fox Searchlight Pictures, Pandora Film, Focus Features