Since "Evil and Poison in the West", Wong Kar-wai has been using his gorgeous images all the time, and he has reached the peak in "Happy Spring", so that a random screenshot can be used as a computer desktop. With carefully selected music, it is even more enjoyable to watch. Therefore, under such gorgeous composition photography, exoticism becomes the best place for lonely and lonely emotions.
As before, the film has made full use of the beauty of the image, so the story has become relatively weakened. However, compared with "Dong Xie Xi Du", which appears to be scattered with time series plots, this work inherits the emotional clues of "Chongqing Forest". Therefore, although the film appears fragmented and fragmented from the narrative structure, because there are complete emotional clues, the mood of the film has not been weakened.
Due to too much emphasis on the creation and expression of emotions, how to arrange the plot in an hour and a half of the movie to maintain the advancement of the movie's emotions is an important issue. In "Chongqing Forest", Wong Kar-wai's treatment is to directly divide the film into two stories, maintaining emotions at the expense of plot length. This work maintains the balance of the plot by adding the No. 3 character as a narrative branch, while further deepening the relationship between people.
The effect of this move is obvious, making the film as a whole become very complete, and the balance between mood and narrative has also been achieved. In fact, this is the same as Tony Leung at the end of the film in "The True Story of A Fei", but with more space. This is often seen in Wong Kar-wai's films, such as many supporting roles in "Blueberry Night", such as Zhang Zhen in Wong Kar-wai's latest work "The Grandmaster", these episodes add a lot of interest to the film.
The emotions created by the film are fascinating. Being in a foreign country makes the protagonists of the film feel like outcasts. The indifference at the end of the world is like the loneliness in the heart, making the moment of intimacy between people become the eternity that the audience expects. So when Leslie Cheung cried while holding the quilt, and Tony Leung was soaked by the waterfall and couldn't tell the difference between water and tears, it seemed that the loneliness of the movie also surrounded him.
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