Feelings are personal. "Happy Birthday" is one of the top three for me.
From the photography to the soundtrack, this film is the best of all his films. It can allow Leslie Cheung and Tony Leung to play opponents at their peaks, and there is no one else to come. You can't imagine who can remake it, or who can replace the characters in the film. With the excellent emotional conflict and the expressions on the eyes of the two leading actors, I personally feel that no one will be able to express the love and abuse mode between couples so vividly in the movie in the future.
In addition, the confused theme in this film also permeates the hearts of the starring actors and the director from beginning to end. Whether it is the fate of the characters or political metaphors, loneliness, loneliness, and remoteness can resonate with the audience.
"In the Mood for Love" is as good as "In the Mood for Love". If "Spring" is emotional and crazy, then "Flower" is about rational restraint. No matter how beautiful Maggie Cheung's dozens of cheongsams are, the two Zhang Liang are incoherent in it. The love also makes the audience bewildered.
In fact, after the millennium, none of Wong Kar Wai's films are very appealing to me. Except for "In the Mood for Love", others such as "2046" and "The Grandmaster" are good-looking and good-looking. I always feel that the Hong Kong flavor of the golden age is missing, and Zhang Ziyi is not Maggie Cheung. Shen Yun, both of them are talented actors. They both completed their personal transformation under the training of Wang Jiawei, but Maggie Cheung is comfortable in Wang Director's films. Although Zhang Ziyi is the number one actor of her generation, she still lacks the calmness of her predecessors. Elegance, the characters in her good movies always have a ruthless strength, I can't tell clearly, I don't like it very much.
Co-productions like Eros are not included in the discussion.
"Mong Kok Carmen", as Wang's first film directed, is quite satisfactory. It is a typical and good-looking Hong Kong-style film. It continues the Hong Kong films of the 1980s. It has a solid script and characters, but it does not have Wang Kar-wai's obvious personal style.
Until "A Feifei Zhengzhuan" came out, it was amazing. Those who will be fascinated by Wong Kar Wai should love this film. No matter how the story progresses, the lines and the characters are completely Wong Kar Wai's style. This one is in the top three of Wong Kar Wai's films.
"Chongqing Forest" and "Fallen Angels" can be regarded as one, and "Chongqing Forest" is also one of my favorites. The emotions of men and women in modern cities and the loneliness of a person's secret love are like a prose poem written casually and easily Comfortable, this piece will never go out of style.
"Dong Xie Xi Du" is too heavy, I have watched it four or five times, but I still don't like it very much. It may be related to personal taste.
"Blueberry Night" is also a home guard-style line and love. The film is beautiful, but it does not rank in the top three of his films.
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