You ask me: what is the good thing about the evil in the east and the poison in the west, or in other words, what is the value of it as a famous movie?
In fact, I really can't write Wong Kar Wai. I think I prefer rough things, but let me tell you my rough feelings.
About Wong Kar-Wai Wong Kar
-Wai is a standard director born out of Hong Kong film studios. Before directing his debut film "Mong Kok Carmen", he served as the assistant director of many films. Regarding this apprentice-style education model, I have always admired it. You have also read Akira Kurosawa's autobiography. This kind of director who has been trained in practice is often very comprehensive. Even though his artistic cultivation is not very high, his expressive ability is very strong, and his ability to adapt to the industrial system is also very strong. How many demands a director has in his heart can only be expressed through the lens. 90% of mediocre people should be greater than 20% of geniuses. If you watch "Carmen Mong Kok", you will find that in the beginning, Wong Kar Wai's style was not what it is now. He can tell the story very smoothly, and the Jianghu spirit he wants to express is also in place. Beginning with his second film, The True Story of Ah Fei, Wong Kar-wai's signature narrative style was revealed and continues to this day. "Evil in the East" is the third work. This film was very bumpy, and in the middle also gave birth to another classic "East and West", which has been passed down as a good story in Hong Kong film history.
The story of the evil in the east and the poison in the west
East Evil and West Poison is from "The Legend of the Condor Heroes", the story of Brother Jing and Rong'er, which leads to these four masters. Although their past events are only a few words, they bring readers a broad space for imagination. From "shooting the vultures", we can already see that these four masters plus Wang Chongyang and Zhou Botong are all people who value affection and justice. Dongxie Huang Yaoshi has always guarded his smart wife who died in childbirth. Guo Jing almost lost his life for her. Later, the six monsters of Jiangnan also died in Rong'er's mother's grave. This is the most important to Dongxie. The important female role is actually very important. However, in "Evil in the East and Poison in the West", Wong Kar-wai treats Huang Yaoshi in his early years as an ignorant prodigal son and a rival in love with poison; On the other hand, Ouyang Feng's love book with her sister-in-law may be just one sentence, but in "Dong Xie Xi Po", Wong Kar-wai was carried forward; Hong Qi, as the most decent character, we don't know his love, but "Nine Fingers" It is also described in the origin book of the God Beggar. The plot of Wong Kar-wai exchanging a finger for an egg portrays the character of this character in a penetrating manner. In addition, there is also the triangular relationship between Nandi and Zhou Botong and his concubine, and Zhou Botong and his senior brother Wang Chongyang are both father and son and lover. A subversive interpretation was made in "Success in the West".
I guess Wong Kar Wai's original intention
was naturally a fan of martial arts. In the nostalgic sentiment of the 1950s and 1960s, martial arts novels are also his important brushstrokes. The emotional entanglement between Zhou Muyun and Su Lizhen in "In the Mood for Love" was linked by writing the martial arts novel "Drunk Man". "2046" is the room where they created and lingered.
People who have watched "The Legend of the Condor Heroes" are naturally very interested in the foreplay of these four masters, and even later pirated novels "Nine Yin and Nine Yang", "Evil in the East" and "Poison in the West", "Southern Emperor and North Beggar" are all is a common theme.
Wong Kar-wai abandoned the original main line of martial arts novels "Nine Yin Zhenjing" and took a new approach to carry forward their emotional entanglements. Therefore, we see that all the people in the play are missing, waiting, and fighting inexplicably. He abandoned Nandi and joined Blind Swordsman and Peach Blossom, as well as Murong Yan (Yan) customized for Brigitte Lin, plus a Yang Cai Ni who looks exactly like Maggie Cheung, completely disrupting the original storyline. He used the rich emotional experience of these four peerless masters (including Dugu Qiuwei!) to subvert the inherent thinking of martial arts masters in traditional martial arts that they do not eat human fireworks. Let us get to know each other again, Dong Xie, who used to be in love but didn't understand love, Xi Du, who was ashamed to express his regrets (this is the character that runs through the entire series of Wong Kar Wai's films), Hong Qi, who is honest and devoted, and who is deeply emotional. The divided Dugu seeks defeat.
First of all, we must admit that this is a martial arts movie, in order to understand Wong Kar-wai's subversion of traditional martial arts movies. He endowed the manifested rivers and lakes disputes on the inside, and showed the inner emotions of the characters on the outside. Although it was a bit hypocritical, it gave people an inexplicable kindness. He understood the mystery of "love" that no one can escape. Directly hitting everyone's heart, this kind of affectionate and silent nakedness is not something that everyone can endure. There is a saying
about petty bourgeoisie sentiment , the so-called petty bourgeoisie refers to those who know how to manage their own lives.
The reason why Wong Kar-wai is regarded as a petty bourgeois classic stems from his exploration of the essence of life. In "Evil in the East and the Poison in the West", Wong Kar-wai puts popular emotions into the characters that have been solidified in people's hearts. This subversion stimulates people's hearts even more.
In a word, it is "no one can escape love". Wong Kar-wai knows that what is worth writing in a lifetime is love, and the classics are the evaluations given by later generations. Wong Kar-wai just uses poetic film language to tell you that everyone has a fragile heart.
In fact, everyone is somewhat narcissistic, and Wong Kar-wai's narcissism is very pleasing to everyone who cares about his life.
Regarding the form
, it is a bit confusing to say that the form is greater than the content. In fact, form is content.
Our movie-watching tradition has a strong habit of drama in it. When watching a movie, we are watching a story, and we are judging drama conflicts. Those who are not strong in the story are not suitable for it.
I don't know how to put the words "deconstruction" and "postmodern" into my interpretation of Wong Kar Wai's style. What makes "Dong Xie Xi Po" good and its value as a famous movie lies in the taste of Wong Kar Wai's style.
If the plot has to be taken out, in fact, the story of each of Wong Kar-wai's plays can be written in two lines. This may be the reason why he doesn't use scripts. He is more like a poet, letting the whole crew work together in an environment, freehand over realism. This kind of freehand brushwork is his content, and that's what we appreciate.
Poetic character monologues, retro artwork, close-ups and concealed shots, as well as a soft and majestic soundtrack, together constitute Wong Kar-wai's film language system. Only by combining all of these can one enjoy a deeper flavor.
In "Dong Xie Xi Po", he arranged four love stories. The new editing makes this format more obvious. It is easy to distinguish between seasons and almanacs. If you listen carefully, the theme music at the end of each relationship can also help you distinguish paragraph. You can see that his difference is the starting point of entry. If you look at these differences separately, the mystery will naturally be understood.
Regarding Leslie Cheung
, Wong Kar-wai loves Leslie Cheung very much, and his brother is the absolute protagonist in "The True Story of A Fei" and "Dong Xie Xi Du". Of course, Leslie Cheung himself was reluctant to cooperate with Wang Jiawei later, so "Chongqing Forest" and "Fallen Angels" did not have him. Of course, such an infatuated role was not in Wang Jiawei's mind. Leslie Cheung's true performance in "Breakthrough" contributed to his splendid performance with Wong Kar-wai. Personally, I think his performance in this film far surpassed Tony Leung, but in the end, because Tony Leung was not gay, the span was even greater, and he won the Golden Image Award. It became a koan for performance judges.
Leslie Cheung and Tony Leung are two sides of Wong Kar-wai's love, just like the line in "Evil and Poison in the West" "Whether it is Murong Yan or Murong Yan, there is a sad person behind him", you can recall the Leslie Cheung written by Wong Kar-wai , he is always indifferent and cynical on the outside, he doesn't want to be "rejected", so he "rejects others" first, he always hurts others, but at the bottom of his heart is a fragile person, the one who only lives his whole life. A bird that lands once, sleeps in the wind. Tony Leung's role has many faces. He is dull and indecisive. He would rather talk to himself than be ashamed to express it directly. We can remember him talking to towels and soaps, and we can also remember him telling the secrets in his heart. , and, of course, Li Yaohui, who couldn't extricate himself in "Spring Comes Together". Zhou Muyun in "2046" can be regarded as the synthesis of these two characters. Tony Leung's performance is a breakthrough.
Wong Kar-wai touches the most vulnerable part of people's heart with this kind of different brushstrokes that can be called surreal, and expresses small feelings and grievances with great tension. I think this is the essence of his style.
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