"A minute before 3:00 p.m. on April 16, 1960, you were with me, because of you and I will remember that minute, and from now on, we will be friends for a minute.
" The obsessive Wong Kar-wai, piled up the numbers into shock, knocked me down in an instant. Because of this sentence, I remember "The True Story of A Fei". And Wong Kar-wai in "2046" seems to want to show his madness about numbers to everyone. He lies on everyone's shoulders and shouts loudly: "Behind rational numbers are infinite emotions!" Because of love, he will do this to numbers. Sensitive and persistent, but the pain in the past reminds me from time to time to forget everything in the past and stay away from 2046, who is looking for memories. Total forgetting requires courage, and may be mixed with new pain. Wong Kar-wai chose to use "rejection" to express, a cruel and wise choice. When the women in the film fell in love, their eyes showed longing and helplessness, and I also saw Wong Kar-wai's inner persistence-for the only love, in order not to be hurt again.
Some narcissists and some inferiority complex, Wong Kar Wai should be such a person. Cheongsam, dance party, jazz, red wine, the prosperous old Shanghai in the 1960s, in Wong Kar Wai's lens, transformed into a gentle grip on a taxi, a parting kiss by the broken wall. The music against the background grabs the attention and creates a blurred atmosphere. The man leaned over to the mirror and put a bright wax on, and lightly extinguished the cigarette in his hand; the woman turned around gracefully and cast a charming look, the sequins on the cheongsam and the gemstone earrings complemented each other. It is said that narcissistic people like to look in the mirror and take pictures of themselves, but I think that innate little inferiority complex will make them hide the most real emotions in their hearts and be indifferent on the outside. "2046" continues the important features of the previous films-slow motion and large narration. The characters in the camera move slowly, but their thoughts are always smooth. Fortunately, this film has a relatively complete story structure, coupled with the protagonist's frequent inner monologues, so that those viewers who haven't seen "The True Story of A Fei" and "In the Mood for Love" will not fall asleep in confusion. However, I have to admit that there are still many viewers who are quite dull and exclaimed to be fooled.
What lured this group of regretters into theaters was a long list of actors that would shock everyone. When Kimura Takuya's handsome face appeared on the screen, the girls screamed in unison and drooled. Wong Kar-wai seemed to understand their thoughts and gave him a lot of scenes. Tony Leung is worthy of being a movie king. He has cooperated with Wong Kar-wai countless times, but he still has new potential to tap, and his acting skills are as good as ever. However, there are almost no scenes about him in this film, so I miss the scene of him smoking alone in the office in "In the Mood for Love". Zhang Ziyi's performance changed my opinion of her, and I began to try to classify her as an excellent actress. In particular, a scene in which she questioned Liang Chaowei was full of resentment and made people cry. It's just that a black flower on her cheongsam in a scene suddenly jumped to the left shoulder and then to the right shoulder, which made me quite dissatisfied with the props master. Faye Wong inherited the characters in "Chongqing Forest", she is slightly neurotic, indifferent and persistent, and her performance is also worth mentioning. Wong Kar-Wai uses the eyes behind the sunglasses to capture the characteristics of the actors and show their overlapping parts with the characters. Just like a chef, all the prepared things are put into the pot, and after some careful cooking, this dish is full of flavor and fragrance, and each ingredient has its own unique taste and texture. No wonder so many die-hard movie fans are so addicted to this type of "Wong's dishes".
I have always admired Wong Kar-wai, and I have photographed the nostalgic 1960s complex so many times, which is always innovative and not boring. But maybe this time he really wants to try to change. <2046> is a summary, a master. Zhou Muyun said in the film: "In 2046, everything stays the same. No one knows if this is true, because no one who went there has looked back. Except me, because I want to change." And I want to say, regardless of Wong Kar Wai No matter how it changes, I firmly believe that his films will be better. I love Wong Kar Wai.
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