same bewildered shot of Vinclair, the same fetish. Before watching Wong Kar-wai's first English dialogue film "Blueberry Night", I thought that Mr. Sunglasses would once again use the monologue of "sore death for life" to satisfy his countless petty bourgeoisie fans, but he has changed. Nora Jones, who had no acting experience, was a bizarre choice for the heroine, and when she read her monologue in an almost unattractive Carrie Bradshaw New York accent from Sex and the City, I suddenly missed Maggie Cheung like never before.
Wang
Jiawei is a person who can never say goodbye to yesterday. Therefore, the story that could not fit in "Chongqing Forest" became "Fallen Angel", and the germination of the story of "2046" happened in "The True Story of Ah Fei". When he decided to leave Hong Kong, come to the wider America and invite these foreign faces to act, everyone thought this time would be a new beginning, but he still missed yesterday. The long kiss between Nora Jones and Jude Law came from six years ago or earlier, and the one-minute kiss scene between Maggie Cheung and Tony Leung in the short film "In the Mood for Love 2001" was a rehearsal. Looking at the pastry owner who keeps keys for strangers, "writes" his diary with a camera, and says "I know you're not Elizabeth, but I'm glad to talk to you" into the receiver, it's hard not to miss the pineapple eater Constable No. 223 in a can or "Angel No. 3" watching video while eating ice cream. The drunk David Strasin the night before, put on a police uniform during the day and visited the fast food restaurant where Nora Jones worked part-time. Tony Leung always appeared in his mind from time to time, fighting with the characters on the screen.
Space is also a prop that Wong Kar-wai is good at - mirrors, cameras and pillars divide the wonderful perspective of space, encounters and farewells always happen through glass, which may be the window of a pastry shop, the floor glass of a bar, the window glass or the lens of the sunglasses . On the other end of the glass, the shots under the control of new partner Darius Khondji are always deliberately kept at a cool distance from the story. It is said that during the filming of the film, most of the nights were played with the music of the folk singer Cat Power as the background, so when Cat Power himself broke into the camera as "the Russian girl chasing the sunset", on the other side of the glass window When I said goodbye to Jude Law, I discovered that the beautiful and distant melodies in her songs had already been integrated into the picture.
The teenage girl played by Nora Jones "chooses the longest road" because she is not prepared to cross a street with any mood. On this road, Wong Kar-wai, who was always pacing back and forth in the circle of the past and the future, found a "sense of direction" that should not belong to him. When a "linear" story unfolds in front of him with clear logic, Wong Kar-wai, who is used to being ambiguous, will only become more and more confused. At the beginning of the filming of "Blueberry Night", many media have made a fuss to emphasize the fact that "Wong Kar-Wai has a script this time!" Here's the result: when stories that could have been brutal are told as psychedelic and beautiful as ever, the stories themselves are undermined; in Rachel Weisz and David Stella Simultaneously, Xin's perfect interpretation of pain, the stretching and distortion of time and space expressed by different speed shots are more deliberate and redundant than any other time in the past.
Only Natalie Portman's part of "Blueberry Night" really counts as a "road movie". Wong Kar-wai, who always hides behind his sunglasses, obviously doesn't love the sun. When the daytime appears on the screen with oil painting-like gestures and surreal saturation, the roughness of a road movie is gone, but it seems to have experienced an accident like falling into another movie. In crowded Hong Kong, the alienation and exile of urbanites is what Wong Kar-Wai's camera looks like on street corners at night, but in Nevada, dusty highways can only make Jarmusch's surly homeless, not two who are afraid to face reality. A "fleeing" girl, after encouraging each other, they can grow up safe and sound with a wave of their hands.
appetite
The fetish complex is an indelible mark in Wong Kar Wai's films. Among them, food is his obsession, or a kind of sustenance. Physical expression is not his forte, so he rarely describes sex. The sesame paste, wonton noodles and steak in "In the Mood for Love" have secretly communicated with each other several times. On Wong Kar Wai's screen, the two desires of food and sex have always been entangled with each other, so at the same time as the last long kiss, the ice cream paired with the blueberry pie melted, and the white ice cream and the red jam embraced and penetrated each other. Faced with such a simple to almost rudimentary image mapping, I can only judge that Wong Kar-Wai may have avoided the process of leaving the audience to reverie in order to take care of the American audience with a straight line of thinking. When two kinds of sweet and greasy things fill the entire huge screen, maybe the audience will only lose their appetite, but miss the taste of wonton noodles in the thermos.
The stomach spoiled by Chinese food, after all, can't take the sweet blueberry pie as a dinner, and the Americans who are used to eating burgers and cola walk into the Chinese restaurant but only see the western pastry on the plate, disappointed and puzzled, I am afraid it is also Inevitably. The "Food Trilogy" in Wong Kar-wai's mind has been completed so far, one Chinese, one west and one past and one present. What will happen to the final chapter on "eggs" in the future?
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