Wong Kar Wai is still the same Wong Kar Wai, but the martial arts are not quite like the martial arts of the past. I didn't originally want to read the legend. I know very well that no matter which story his romance is put into, it will ultimately be about his stubborn and irresistible love. Otherwise, there will be no "all encounters in the world are reunions after a long absence".
However, as Wong Kar-wai is also accumulating constantly, his life insights and demands for film creation are no longer as personal and emotional as they used to be, and he is bound to turn to a higher realm on a spiritual level. Wulin fulfilled Wong Kar-wai's appeal, and Wong Kar-wai also used this film to consolidate the position of martial arts in film aesthetics. What is reflected in his films is "seeing yourself, seeing the world, and seeing all beings".
From the very beginning, Wong Kar-wai made the image very dark, filling the image with a lot of dark color blocks, creating a virtual focus and ghosting. The continuation of the temperament of his previous works has created this highly recognizable Wong Kar Wai work.
Wong Kar-wai used the whole film to complete a "rhyme" character, and also proved that he is the unquestionable film master of this era.
The role of Gong Er is so suitable for Zhang Ziyi, she seems to be a woman after the mixed transformation of Yu Jiaolong in "Crouching Tiger, Hidden Dragon" and Bailing in "2046"! Gong Er "has never lost to anyone in his life, and if he wants to lose, he will also lose to himself." She is flesh and blood, strong and strong, but she "sees herself, the world, but not all living beings"... Zhang Ziyi's bloom this time was given to her by the role, and she "found it back by herself".
The action scene between Ye Wen and Gong Er was smooth and beautiful. The exchange of feelings between the two people was also clearly expressed through the language of the camera. In this work, Wong Kar-wai has indeed become more grounded.
Tony Leung's performance is complete and steady. I can accept both Benshan and Xiaoshenyang. But Zhao Yutian from "Country Love" actually came out, and there are still a lot of lines. It's good that I haven't watched this drama. I am very familiar with this drama.
There is also Zhang Zhen, who came and went without a trace. Several scenes were cold, inexplicable, and neat. In this character, Wong Kar-wai deliberately left blank, which is also his hobby. There must always be a character in his films that makes people think about the purpose of his existence. His films also need such a character without cause and reason to fulfill Wong Kar-wai's love-hate temperament. "2046" is a typical example.
"Once Upon a Time in China" still has too many possibilities worthy of being used by more directors to develop their personal style, but I just try not to "see only the north and the south, but not the whole world", otherwise, I can only be ashamed. Wong Kar-Wai still works slowly and meticulously, it can be better, but if there is a lack of success, this is also a master's work!
Wong Kar-wai, it's been a long time, sitting in the cinema, I'm excited!
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