After watching "Blueberry Night", as a Wong Kar Wai fan, I suddenly felt nostalgic. Once upon a time, there was a relatively pure, caring and humorous Wong Kar-wai, right? He rambles, talks to himself, is a little lost, doesn't think deeply - when his mind is confused, he usually goes far away, California, Argentina, Cambodia, and finds a tree hole to bury his secrets. This Wong Kar-wai is a very good emotional counselor and a leading eldest brother of the petty bourgeoisie. When I say this, I have no derogatory meaning, because he has slowly sorted out an aesthetic way of material and emotion, which is limited in depth but can be maintained. A subtle texture; slowly he stylized it again (the so-called style is that the combination of form and thought is unique and organic, with discrimination), such as shaky photography, color of details Smudge, pineapple canned lines, and Tony Leung, Jin Chengwu, Maggie Cheung, Faye Wong. When the filming of "Breakthrough", Wong Kar-wai brought this kind of Wang-style literary film to a high level - the idea is a little pioneering, the emotion is relatively full, and the language is flexible and unrestrained. But then, he didn't go further. "In the Mood for Love" is a gorgeous turn. He organized these skills into a brand, and also achieved a consumption boom.
Do not want to be a master, want to be a big designer, of course, it is an understandable choice to make the brand of Wong Kar Wai commercial literary film well, and from a certain point of view, it also fills the gap. "2046" follows the path of "In the Mood for Love" and pushes the aesthetics of details to a more extreme level, but a lot of beauties and a lot of emotional disputes are not as moving as Zhou Muyun and Su Lizhen ——It can be seen that the crisis of Wang's literary films. The core of literary films is still "feeling", and the essence of feeling is "cherishing". Finding a way out from the stagnation, this process is sincere and touching. Even if POSE is a little hypocritical, you can still get a knowing smile. In "2046", Tony Leung, who has read the vicissitudes of life, has practiced to the point of not sticking to clothes. Not sticking to the body, only a little rouge in my heart, the movie is visual, auditory, sensory, felt, and the emotional resonance has become more and more thin.
So in my understanding, "Blueberry Night" is a look back. Wong Kar Wai tried to tell a simple story and return to pure feelings. But this action is equivalent to seeking a sword in a boat - the canned pineapples in those days were full of affection, can the current blueberry pie still have such real affection? The problem with "Blueberry Night" is that it is too deliberate. The symbols are all there, and the elements are complete. Wong Kar Wai seems to be the same Wong Kar Wai, but the richness and subtlety are all lost. The logic of the story is clear and echoes the beginning and the end. The last kiss was NG 150 times, and the top shot is a perfect match between the two sides. ——Think about how sore the neck is, how difficult it is, and how deliberate the posture is.
A momentary innocence is not true innocence. The simplicity of Nora Jones was stunned by the contrast between the two beautiful supporting roles. The first half made people sleepy, only a Lawrence Bullock alcoholic policeman suddenly appeared to wake up, and the second half The photo of two young girls driving in a car made the sky full of colorful clouds, but the shape was too qualitative and the confidence was too weak. Such charming music, like a long end and beginning of a MV, and such a gorgeous tone, finally made Fujifilm proud.
--Ugh. To speak so meanly of Wong Kar Wai, suddenly became melancholy. The petty bourgeoisie who took the lead and brought out by the eldest brother have grown up. They used to be troubled by the sea, except that Wushan is not a cloud. A little bit of warmth in a cafe can also make people greedy, but magnifying the details so blurred is too narcissistic. We have all understood this truth, and we have all become "calm". Why do you keep NG again and again, magnifying a little thing so much?
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