I watched all of Wong Kar Wai's movies at home for three days, and then my sequelae would last a few weeks, or a few months. It is said that the films made by the King of Sunglasses are very petty bourgeoisie, and it is also said that his films can be seen in a haze. I was indeed fooled by this. A few years ago, I watched "Flowers" without knowing anything about him. "In the Mood for Love" turned out to be a blow to my IQ and EQ, but I'm really happy that today, a few years later, I can understand "In the Mood for Love" from beginning to end, and I'm still immersed in his movie world, which is gratifying Some changes are not necessarily negative.
Change is a very important proposition for Wong Kar-wai's films. In "Chongqing Forest", the female killer said, "Actually, knowing a person doesn't mean anything, people can change." In "Evil in the East", Peach Blossoms I also said, "I used to think that sentence was very important, because I felt that some words were spoken for a lifetime. Now think about it, it makes no difference whether you say it or not. Some things will change." Change is relative to time. Yes, in Wong Kar Wai's films, he reminds the audience of the existence of time, intentionally or unintentionally. In his shots, you can feel that time is passing slowly. He is very good at using colors to create atmosphere. In the color shots full of personal style, whether it is an urban emotional film, an armed film, or a gangster film, Wong Kar-wai has shown Each character's sense of powerlessness over time. Everyone always thinks that other people around them have changed, but they have not changed, just like Su Lizhen in "In the Mood for Love", she insisted that "we are different from them." In the end, she fell in love with Zhou Muyun unknowingly. I prefer that in "Carmen Mong Kok", Andy Lau and Jacky Cheung play the roles of two people who have been eliminated by the times, vividly reminds me of the classic line in "Blood and Blood": "We are not suitable for this arena anymore. , because we are too nostalgic.” In other Wong Kar-wai films, this change is also implied. For example, in “Chongqing Forest”, Jin Chengwu eats a can of pineapple that is about to expire every day. And this kind of change is most contemporary in "In the Mood for Love", which is why I like "In the Mood for Love" the most. "An era has passed, and everything that belongs to this era will no longer exist." Here Wong Kar Wai It raises a lot of questions for us, what is the existence of anything attached to? What form of existence is immortal? Everything seems very small in front of time, full of nihility.
In addition, love is also an unavoidable topic in every Wong Kar-wai movie. But in Wong Kar-wai's films, there are few bright love stories. These loves are inseparable from modern city life, including the desert in "Evil in the East", which is also a metaphor for a modern city. Except for the petty bourgeoisie and freshness of "Chongqing Forest" and "Blueberry Night", and the faint warmth that flashed at the end of "Fallen Angel", most of the stories are tragic, and most characters cannot escape the fate of loneliness. In "The True Story of Ah Fei", Ah Fei's attitude of not caring about anything; in "Spring Comes Together", the process of Li Yaohui and He Baorong's separation and integration; in "In the Mood for Love", the ending is more like Zhang Ailing's tone , the two people who are suspicious of each other and ambiguous can't escape the trick of fate in the end; in "Dong Xie Xi Du", all the characters except Hong Qi can't get the love they want, although Xi Du acts as a cold-eyed bystander. Listening to everyone's stories, there is actually his unspeakable hidden behind such a ruthless and harsh attitude. On the contrary, although Hong Qi lost a finger, he got love. We also see that in the world of love, people who think too much can never be happy. The simpler people are, the easier they are to be happy.
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