I have never known or admired Wong Kar Wai, and I have only seen the cheongsam show "In the Mood for Love" when I was a child. Most of his impressions and evaluations are based on the labels I agree with: literary accent/installation, slow filming, and unremarkable production. However, after many years, this unintentional choice of mine has firmly made me feel at ease and appropriate. Twice, every time I read it, I felt "quiet", and I didn't want to say anything on the way home alone, as if the "qi" dissipated as soon as I opened my mouth.
The biggest shock for the first time was Zhang Ziyi, with that stunt-like look (unlike what the camera could capture), and her heroic demeanor without gritting her teeth or raising her eyebrows. The appearance of Gong Er swept away the custom of martial arts at the beginning of the film, and shook off the dullness of storytelling that stretched for several miles afterward, like Tai Chi pushing hands directly into my heart. Thinking back to the time when "Crouching Tiger, Hidden Dragon" praised the courage of a new-born calf, that pure, pure, fearless world. If it was still the time when the teenager was full of arms, then this dignified and calm stillness must be a corner of Kaihong after going through ups and downs, self-awareness and self-sufficiency.
To be honest, who hasn't hated Zhang Ziyi in those days, and Huang Xiaoming's point of view of jokes is the same as Huang Xiaoming's: bad English like making trouble, showing timidity abroad and so on. My turning point came when she was the producer of "It's Perfect". I was expecting a shoddy love story, but it turned out to be of good quality - it's really a Hollywood model of love love, and it's very well made. . As a producer who decides the direction and controls the quality, this girl must have a strong side. Looking back to the present, there are all kinds of bitterness and sourness behind the calmness in "The Grand Master", even if we have heard about it (all kinds of doors), only she herself can follow it.
The second time, I really saw Tony Leung's lack of effort. Maybe it's because he's used to his reputation as an acting school, or maybe because of his special preference for Gong Er. The first time I gave Liang's evaluation is "regular and flawless". And the second time I followed, especially after I got a clearer understanding of the hidden points of the plot, Tony Leung resurfaced. Although the span of age and era is not reflected too much on the faces of the actors, the arrogant and arrogant elite attitude of "Spring forty" and the helpless hero's tears in the life of "spring turns to winter", the context of the performance is vaguely visible. .
A film reviewer on Weibo said that this film is a Wong Kar-wai film first, and then a kung fu film. In fact, I said that kung fu is only the beginning of the story and the element of the film, but the core is the word "affection". Although Song Hye Kyo doesn't have many roles, she really arouses people's desire to get married and live a life - "Speaking words can easily hurt people, two couples, sometimes silence is better than sound". Gong Er and Ye Wen met each other's brows and noses for a moment ("I hide flowers at the bottom of the leaves once, and step on the snow a few times in my dreams"), but they met for several years, but they didn't know each other. Also fate is a bundle of regrets in life. There is also a father-daughter inheritance, "don't ask about favor and hatred", but it did not hide her determination to trace back to the end, a Buddhist lamp is also a gratifying acquiescence to set off from the Tao - "Light a lamp with one breath and wait, if you keep thinking about it, you will have a memory. ."
If the first time is a shock of being partial and flawed, then the second time is complete and then it is customary to say "perfect" sincerely. In this film, what you see is "energy", what you smell is "qi", and what you taste is "rhyme". Not ashamed to say, I think I know Wong Kar-wai in this film, even though I don't know anything about his past. This understanding is like Quentin in "Kill Bill", even if he became the later "Inglourious Basterds" and "Tiago Unchained". There is a teasing and spicy idea. The first time I heard about the feeling of "not talking" was heard by Chen Kaige (the ending song of "The Orphan of Zhao" is called "Do not talk"), but I almost didn't "feel it" from his works. "To such a feeling. Even if it's Zhang Ziyi, she in "Mei Lanfang" is at most a child wearing adult clothes, she is purer than rhyme. However, this taciturn man in sunglasses, without saying anything, said everything thoroughly and vividly, with a long aftertaste. Kind of interesting.
The most taboo thing about storytelling is insincere, and moving it to the big screen is a "posing" character. The external marketing labels such as big productions and epics have unconsciously planted a large or small "sense of mission" for the filmmakers inside the creation, that is, the heart of "live up to the outside standars". , this is the beginning of death. My biggest disgust with "1942" is that it is powerful and ruthless. Although Director Feng + various experts and scholars have come out to explain and correct the name, a work must rely on "explaining" and "experience" to communicate emotions, and I am afraid it is not excellent. work. "The King's Feast" is also ruined by this "what for what" style, and the convoluted interlude and editing techniques are counterproductive. "The Grandmaster of the Generation", said teasingly, was a little bored and saucy, and then clicked on it, and the overall style is precisely not Wong Kar-wai's usual "saucy" line, the bones are solid and full of meat.
In fact, the feeling of watching a movie ultimately depends on the reflection of the movie on personal experience, and whether you watch it or not depends on it. It is not difficult to understand the polarized response after the release of "The Grandmaster". I personally like it very much, because every rhyme and rhythm are unexpectedly taken into my heart; there are also decisive scoldings, one after another. So, use Zhao Benshan's lines to persuade, "If you force it, the taste will go bad."
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