1/3 one star, 1/3 three stars, 1/3 four stars

Earlier, I heard about Wong Kar-wai's "Hand" in the three paragraphs of "Eros". I thought it was the inexplicable "Chinese people's love and glory" mentality of the Taiwanese media. But I can't disagree with this after watching the movie. This seems to be a lazy view. I don’t know if it’s Antonioni’s old age, I’m impatient, or the pirated subtitles are too bad-or d. All of the above-anyway, it didn’t take long for the first paragraph (but still long enough to find that the Italian dialogue was actually dubbed? !), skip it altogether. Soderberg's mise-en-scène scheduling is quite interesting. In the same shot and the same space, two actors in the upstage and downstage (suffice to say) dual-tracks do each and talk about each other, it's actually not simple. It is quite interesting that the psychologist can't wait to see what's outside the window desperately peeping at all. But the film is short and the story itself has no plot to speak of, a bit like a modernist short story.

Okay, let's say "hand". Wong Kar-wai is really good at telling this kind of repressive, ambiguous, and circuitous love story, although it may not be very new, especially the time and space background is the 1960s Hong Kong that can be called his "creative soul hometown" - or more accurately In other words, the Shanghai people who lived in Hong Kong in the 1960s. Gong Li performed well. I never thought she was such a good actor. Perhaps it was Wong Kar-wai who guided her well; previously, when she flopped with Tony Leung in "2046", her face was blank at the moment when she lifted the card in her hand. I was shocked by it. I have always thought that Wang is a very good director, but why he always uses Zhang Zhen, I really can’t understand. Zhang may be more suitable for shooting commercials. It is considered to be the type that is "stylish" in front of the camera (but it is also very limited in category. For example, in the movie, he grew up with a beard and disguised as a mature look.) In this movie, I have a feeling of "Why didn't he just play a dumb?" Especially in comparison with other characters' Southern accent and Northern Dancing, it is really "Taiwan Mandarin" at its worst. The theme of hands is fully utilized, from the hard-boiled elderly female client holding the unbearable erection of the young tailor apprentice, which is both enlightenment and disillusionment, both excitement and humiliation; to the tailor's hand and the female client's body (or even psychology?) The wonderful familiarity between them not only refers to the male and female protagonists, but also refers to all such relationships. I finally understand why Zhang Ailing in "Red Rose and White Rose" arranges the affair of the smokebird to be a shameless young tailor; to the tailor I lay alone on the workbench at night and reached into the hand that was struggling with the clothes that were made for the female guest but could not be delivered; the hand that the heroine who has been crippled and lost finally had to offer him again; and then to the seriously ill She desperately covered her mouth so that he couldn't help but kiss the hand that would not be contagious. That was the saddest sex scene I have ever seen. Although I knew it was "sentimental" (sentimental), my tears could not help but fall.

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