The film is very stylized in the selection of materials, which is prominently displayed in the setting of the characters. In the whole story, there are only two main actors, the male and female protagonist, one is a socialite and the other is a small tailor, both of whom are marginalized figures who are not influential in society. Moreover, even the names of these two characters have been watered down, leaving only aliases such as "Xiao Zhang" and "Miss Hua". People’s names are often the value of their own existence. It is not uncommon for the protagonist’s name to be spoken at random in Wong Kar-wai’s films. This is a deliberate way of grouping and symbolizing the characters, which strengthens the setting of marginalized people. They are spiritually in A free state, living in the cracks on the dark side of society, unable to have a firm foothold of its own. Traditional movies will create distinctive characters based on the background, profession, and personality of the characters. However, the director Wong Kar-wai completely breaks this law in the handling of the film. The amount of information is very small, and the relationship between the characters and the information is very vague, and the audience needs to guess by themselves and continue to explore with doubts. Through the advancing of the dialogue, the film began to recall the first encounter between Xiao Zhang and Ms. Hua. At this time, the heroine Ms. Hua also only heard her voice but did not see her. She came out after a thousand calls, dampening the audience's appetite for her beauty. However, the shots of Miss Hua are still rare. Most of the key scenes are only shot by Zhang alone. From Zhang’s perspective, Hua’s character image is plumped, and at the same time it shows the relationship between the two people secretly in love and being secretly loved, close but alienated, and Zhang is complicated. Inner activity. In shooting, the pictures are mostly Miss Hua's hands, waist, and chest. Such seductive shots also perfectly illustrate the career of social flower. This kind of partial shots can also arouse the audience's unlimited imagination. The film’s lines are concise and crisp in design, but the lines are appropriate to the characters. The lines as clues cleverly outline the ups and downs of the story, as well as the subtle changes in the minds of the characters in each period. It can be said that each sentence is worthy of repeated scrutiny. The actor's grasp of the lines is also very good, the way of handling the lines perfectly assists the three-dimensional image of the characters, the interpretation process is smooth and natural, especially the eyes, which will express despair, helplessness, hope, and anxiety incisively and vividly. It is very credible and true, and has a sense of enthusiasm. Therefore, it has created a unique tailor and prostitute image of Xiao Zhang, who is infatuated with restraint in love and cannot be with Ms. Hua.
When the director was shooting, the scenes were all narrow alleys, corridors, stairways, and workshops. This was firstly because Director Wong Kar Wai was good at shooting the crowded feeling of Hong Kong's urban characteristics, and secondly because it was also his unique stylized shooting method. The narrow and dark enclosed space gives people a feeling of depression and heaviness, being forced by the environment, resulting in closeness between people, and objective closeness cannot change the distance between people's hearts and hearts. This echoes the relationship between Zhang and Hua in the film. It is used to highlight Zhang Restraint's sense of depression, and also explains the environment in which the story takes place, as well as the helpless sarcasm of the two who are ultimately different. In the lens movement, people are not the subject of the subject, and there are many fixed long shots, and the characters are drawn from the corners of the picture, or even empty shots that do not enter the picture. Deliberately, it played down the characters and slowed down the rhythm of the film. It is accompanied by the soundtrack, which perfectly reflects the emotions in the picture, and everything is clearly stated. In terms of structure, the flashback narrative technique leaves the suspense at the beginning and the end to make people suddenly open up, giving the end a sublimation space, which greatly adds to the film.
Return to the title of the film "Hands". For Hua, "hand" is her only magic weapon to seduce men, and for Zhang, it is her first love complex. Looking at the whole film, "hand" is an obscene prop for the release of desire. When it is placed in the situation of Zhang’s unchanging emotions towards Hua for many years, and the desperate and desperate dying Hua, "hand" has risen to two loving but A medium for those who cannot be together to express their love. The director's attitude also allows the audience to understand the mental state of the two.
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