As hordes of actors attempt to stave off aging, we watch on, amused. It's hard not to laugh or snicker when a person who has clearly had plastic surgery claims that their face is natural. They might as well claim to be a relative of Stretch Armstrong, trying to feed us bull that their skin doesn't fall and change no matter how old they get, that their chin was always that shape, their lips always that puffy, their eyebrows always that arched.

It's also inspired many of us to complain about the lack of emotion these actors can offer, how it affects performances and ruins a role -- emotions desperately trying to escape from the clutches of Botox and injected fat. But It's more than just a threat to random roles. We must ask: could this rampant love of plastic surgery affect or essentially change how cinema is made and performed? New York Magazine recently looked into the issue, inspired by the unmoving faces in the television show Damages.

The most telling piece of the article deals with emotion as a sort of compromise, actors figuring out what facial movements are necessary for their careers. Plastic surgeon Stephen Pincus told the magazine: "I ask them, what expressions, what emotions, are you concerned about losing? They'll say, 'I have to be mad, or surprised, or I'm worried about my eyebrows, I don't want to be a blank stare.' I say, 'I can paralyze your forehead from this point up, but you're not going to be able to wrinkle a good part of the forehead. Is that an issue for you? If it is, we shouldn't do it.' They're more concerned about wrinkles than about the five seconds of emotion people might not notice anyway."
categories Cinematical