Why aren't Faye Wong and Takeshi Kaneshiro together? Why don't Liang Chaowei and Brigitte Lin form CP? Talking nonsense about the emotional composition in "Chongqing Forest"
In "City of Magic", Faye Wong's performance of "The Dreamer" brought the eccentric girl back to the audience. This jumping and free dreamer once again stirred the audience's interest in the movie "Chongqing Forest" 's memories. The singing and dancing girl in front of her is confusing, whether she has entered the movie again or she has walked out of the movie, just as charm and loss constitute the movie itself.
Brigitte Lin, Tony Leung, Faye Wong, Takeshi Kaneshiro, the high profile of "Chongqing Forest" is a feast for the eyes. The choice between the top profiles can directly set the emotional tone of a film to a large extent. Then, why does "Chongqing Forest" appear like this? What about the cp combination? Lin Qingxia (female fugitive) + Jin Chengwu (He Zhiwu), Faye Wong (A Fei) + Tony Leung (No. 663 police officer), what is the hormonal effect of this configuration? Let us explore Wong Kar Wai's emotional expression from the cp combination.
In the appearance of the two heroines in the film, He Zhiwu has such a line: "When we were the closest, the distance between me and her was only 0.01 cm." This 0.01 cm will always exist, which also symbolizes the disagreement between him and the two women. intersectionality. Although the story of He Zhiwu and the blonde girl was triggered by the first 0.01 cm, the emotional expression in the story is one-way. It is always a character like He Zhiwu who is suffering from loss of love. Facing the loss of love with Ah May, it is also the case with the desire to seek comfort and relief after the lovelorn, and contact those women who have had an intersection with him.
In such a mood, I met the blonde girl played by Brigitte Lin. This character setting is very interesting and has a story. Sunglasses are worn throughout the entire process—a prop that fits with the director’s own iconic image, and comes standard with a raincoat that doesn’t fit in with the surrounding environment; she said: “You never know when it will rain and when the sun will come out. "The identity of the drug dealer and the lack of security in the character's heart appear cautious and pitiful under such a careful package, and the survival in the urban forest is strong and fragile.
Under the sunglasses is her hidden and hidden heart: kidnapping an Indian girl and taking her to eat ice cream, refusing to talk to He Zhiwu but remembering and wishing him his birthday; just like wearing sunglasses in the room in the early morning pretending to sleep, she is wandering in the city In addition to the emotions, refuse to honestly face up to the softness and delicacy of their own hearts. And the emotional intersection between these two characters is mutual comfort for each other. The story between a murdering and fleeing drug dealer woman and a lovelorn policeman, there is no vigorous drama, and the identity conflict of materialized reality is thrown away. What is there is that two hearts meet each other at the same time when they are fragile: a passionate desire To express, a cringe wraps himself. The different heartbreaks displayed in two different gentle people are all soft. The pairing of these two is full of drama in itself, but it turns a corner at every tension point and is subtle. Looking forward to, asking for nothing, or saying "squeaky", "unhappy", "if it is too far away" these subjective feelings are born in the audience's heart, these adjectives are not just the thousands of audiences in their own emotions. More or less, sooner or later, to experience the mood? A resonance occurs.
Wong Kar-wai will feel the same on the screen without restraint, and act as he likes. He expresses the same dream and reality in the two main lines of the film, but the difference is that if the relationship between 233 and the female fugitive is intermittent, then in this section between A Fei (Faye Wong) and the policeman No. 663 (Leung Chiu Wai) In emotion, a hidden and continuous developmental context has been formed.
A Fei dismantled the letter left by his girlfriend in 663, took the key of his house, turned on the "Tianluo girl" mode, and often sneaked to his house to clean. This kind of treatment turned the girl's dreamy expectation of emotion and the playful elf-like implementation into one sleepwalking after another. But when the two actually met, our girl suddenly left, leaving behind a wet boarding pass. She neither broke the appointment nor refused the arrival of emotion, but left suddenly, is she afraid? It's the timidity of being near nostalgic, it's uncertainty, it's the sudden realization that I need a balance. Where did the imbalance come from? Emotional, self-conscious imbalance. She knows and is familiar with 663 far more than each other, and her liking has begun to form a contradiction with her own independence and freedom. At this time, girls need to explore more, to explore love, to explore themselves, and to explore the love of a person who does not understand themselves. Such a "sudden" treatment has left more room for imagination and more worrying expectations for the people in the play and the audience, which is very flirtatious.
Starting from the film itself and the director's personal style, the film inherits Wong Kar-wai's consistent fragmented narrative structure. There is no obvious causal relationship and strong developmental connection between the two stories, but he sets up many stories between the stories. By chance, the characters in the second story appear in the first story as a fusion, and the details make the characters intersect, so that the audience can get psychological hints and inspirations, and establish connections to cause associations; Expresses the film's thinking about "understanding, time and change" in relationships. This way of expression also stems from the fact that Wong Kar-wai is an artist who does not pursue realistic logic. He cares more about feelings. His films are like prose, what he wants to express is in ups and downs of emotions. The film throws out emotional resonance points to the audience from the two stories, which achieve the same effect and achieve the expression effect of "forms and spirits gathering".
"368 re-machine, password: love you ten thousand years"
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