Wong Kar-wai's films taught me a simple truth: instead of piling up useless words, it is better to try to describe people's lives candidly and directly, because people are poetic creatures. A very good way of poetry, a little bit closer to the tone of the poetry of things.
In the primitive society, a woman will knock him unconscious with a sledgehammer and drag him back to the cave after seeing a man, which is simple, rude and unreasonable; in the steel forests of modern cities, people's erotic expression seems to be severely limited, and the relationship between people is very limited. They are forever lonely and alienated, trapped by the past and the present, unable to see the future and unable to grasp the present. So when the film began to focus on the theme of love in the urban forest, the human theme of how to get trapped and how to break through was also called out accordingly. The narrative of the film became a study of the abnormal behavior of human beings struggling in the urban forest. Love It has become one of the reliable ways to cry out for self-help.
So how to describe the increasingly alienated love in the urban forest?
The most difficult thing to capture in the world is love, and calling it by its name is often boring. In other words, it is often misleading, and it is a pity to avoid talking about it, and people are strange and impermanent animals, so they The gains and losses of love in the face are often cunning, fickle and elusive. Therefore, how to capture has become the innate responsibility of talented poets. Wang Jiawei used "Chongqing Forest" to give his classic allegory.
And when we want to lean over and look closely at the operation of this metaphor, we have to admit that we are caught in a dilemma - the two independent and complete stories in the film are themselves rich organisms that constitute each other's It seems that it is difficult for us to extract and reduce the dimensionality of the highly individual film and television clips into any form of textual expression (this is regrettable), and staring at the lines and plots of the clips itself is a reflection of the whole. sexual destruction. To balance the importance, I choose the strategy of only pulling the film in part. The whole film is full of allusions to love, and the following is just a brief description of it.
Some Examples of Synonyms
He Zhiwu started buying a can of canned pineapples that expired on May 1st every day, because pineapples were Ah May's favorite food, and May 1st was his birthday, he told himself that when he bought When 30 cans are full, if she doesn't come back, the relationship will expire. He began to doubt that there was nothing in this world that would not expire, until the morning of May 1st, he realized one thing, in Ah MAY's heart, he was no different from this canned pineapple.
So he ate thirty cans of canned pineapple mixed with pepper, soy sauce, vinegar and other seasonings. This feeling of lovelorn with mixed flavors and stagnation in the stomach was conveyed meticulously and accurately.
Another feeling of lovelorn is the desire for pursuit and compensation. He Zhiwu tried to call every female friend he knew to have a drink, and even made up his mind that he would fall in love with the woman who came in after a minute. The lovelorn eats frantically to relieve the depression and emptiness in his heart. He eats a chef's salad and a large plate of French fries four times that night, and runs in the rain the next morning to get rid of his body. moisture, so that there will be no tears. There is a touching power in the simple description of life.
A fickle and fragile love is like a can of pineapple that will eventually expire, a fast food restaurant that can change its flavors at any time, and it is not a plane filled with gas that can fly far flight.
When his girlfriend left him, he started talking to every object in the house: blaming "Soap" for getting thinner, complaining about "Towel" for washing his face with tears, and advising Teddy Bear not to get angry...
This part is amazing, and there are many wonderful allusions about love in the film, such as the pin that hurts the heart, the envelope that is lightly opened on a cloudy and rainy day, the air ticket with the vague location, the blonde sunglasses and the raincoat. It reveals the attributes of one aspect of love, and the gradual unfolding of objects in the characters' lives is like an ingenious poetry.
Among the mountains of love descriptions, the unappetizing clichés are the worst, but Wong Kar-wai's way of expressing it is novel.
In addition, the narration and shots of the film are also quite distinctive. The water-like shots dazzle the emotions of the water-like operation. The opening and middle scenes of hand-drawn frames render the characters’ psychological loneliness and loss. The strong psychedelic temperament makes everything look It seems to be sleepwalking, like a goldfish rumored to have only seven seconds of memory, which makes the entire film's narrative fall into a weird, blurred and unspeakable hysteria.
In fact, some people do not fall in love and cannot extricate themselves. They seem to have lost the desire to consume for a concrete individual, but often just rejoice in the repeated tossing and turning between love and breakup, eager to be slowly captured by love, and desperate to break free. To taste the pain of loss, to appreciate the reflection of self-image by the daffodils, to fill the huge emptiness between the daily tearing of the spirit in the urban forest.
They reject love and let the misty thoughts suspend in the air, so that every encounter is a reunion after a long absence.
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