Recently, I watched "It Happened One Night" and "North Africa Spy", and then I realized that most black and white films don't feel this way - the black and white films of the Hollywood black and white film era, with delicate pictures, soft lighting, rich gray tones and strong sense of reality. .
But I don't like it. Maybe it's the preconceived idea of "Spring Comes Together", or it may be that I just like that kind of domineering - a kind of domineering in my heart.
In Wong Kar-wai's color images, the contrast of red and green or red and blue is often used, a gorgeous dramatic effect, such as the sound of the strike of gold and stone, and even a little depressing atmosphere; Clean and strong. Of course, it can be said that such an approach is somewhat eye-catching, as if it is a commercial pop. But maybe some other flavors can be discerned.
such as strong thoughts. Wong Kar-wai is a very strong man at heart. Even though his story is always about love between sons and daughters, the tension of the film remains unabated - he can even sneer at the so-called grand and so-called difficult connotations of the story about time he persistently recites - but he returns When it comes to the light and shadow itself, returning to the sensory enjoyment itself, the film can still achieve a feast of light and shadow, music and narrative.
Another example is the symbol realized by the image. He said that the waterfall was a symbol of sexual energy, and he was deeply moved by it. Thinking about the sharp contrast image style, it can symbolize the intense relationship between the two, the unavoidable contradiction when the two souls and the two worlds collide - after all, it is still a portrayal of the strong contradiction in Wong Kar-wai's heart, but it is not just a little lingering love. , there is a broadness in it.
Paying tribute to the master is such a thing, everyone will try it to improve their level. Of course, if you don't do it well, it will have the effect of embarrassing yourself.
I remember John Woo once tried to make "Across the World" into Hong Kong's "North Africa Spy", but it changed completely later. Of course, it may be that it looks better now, what a beautiful film. As for "North Africa Spy" itself, I really don't feel anything after watching it. So, learn yourself, it seems better. I finally watched "The Godfather" recently. When I watched it, I felt as if there were countless shadows in the film that were "saluted" by later generations. But the charm of the film remains undiminished. His calm and cold narrative style makes all the sudden and amazing violence can be controlled by a force, and that force actually comes from the narrative itself; using gorgeous and elegant music, deep and classical pictures as a precursor to the coming storm, It's quite astounding. Really a classic.
There also seem to be countless masters in "Spring Comes Together". But even more happy is to see Wong Kar Wai himself. He tells the story without any hesitation, as if he just wants people to see it before they can understand it, a somewhat alienated, somewhat confused narrative style. He has this confidence - I believe that someone will watch it again - and even a little disregard, such as the box office. If art films are defined in a broad sense, without the responsibility of being a pioneer, Wong Kar-wai's films are artistic enough. He does have that confidence, and after watching and watching his films, he can rely on that delicate beauty.
Wong Kar-wai is still very materialistic, seeking various things to carry his symbols. Unlike Cai Mingliang, a watermelon can be used to the extreme. Lamps, smoke, mirrors, watches, clocks, keys, doors, maps, lighthouses... pile up a metaphorical kingdom, which is fascinating; waterfalls, roads, blue sky, streets, rooftops, give a small and closed room a grand The contrast of the background is like comparing the whole world with the lonely and small individual, a tension. The Tango in the kitchen was warm, and the outside was dilapidated and desolate at that time; however, when the weather was fine, the sky in Argentina was so blue, and the hut was so small and closed, it couldn’t keep a free mind. With few lines, quiet narrative and quiet performance, the images presented are rich and complex.
The reason why I think "Spring Comes Together" is better than "Evil in the East" and "2046" is that Wong Kar-wai has no ambition to portray group portraits, and the story is simple and clean. No matter how you look at it, I feel that "East" and "2046" are too crafty and seem to be preaching. The decadence of "A Fei Zhengzhuan" is not very content in my opinion, as if the language is vague. "In the Mood for Love" is too boring, and "Chongqing Forest" also has too many clues, as if the director wants to be dissatisfied and does not know how to control. Speaking of which, "Breakthrough" is restrained enough, and looking at the deleted scenes in "Rebirth of Spring at Zero Celsius", you can see how much self-control the director used to restrain his desire to reveal details. In my opinion, those are the same beautiful plots and scenes as the current film, but they were finally cut out. It may be that there is a more dramatic factor of reality - Leslie's escape halfway - that tilted the story to Li Yaohui's side, which led to the deletion of those lingering branches. From the perspective of the film, simplicity is power, and the deletion is very good, so the film becomes clean and complete, so it is favored by Cannes; from a personal point of view, I can understand why Wong Kar-wai kept a "Reappearance" as a souvenir , I can't bear to change it. What's more, the grievance with Leslie eventually led to the two parting ways, and the last spark was not at all.
I also began to understand that making a play is not easy. Going around and paying so much, a lot of it is a waste of time, and it is difficult to say whether the final thing is what you want. However, at least experienced it.
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