Bai Bonnie
is going to watch a big boring movie. Everyone complained that they couldn't understand it, and I just went because I couldn't understand it. Although I have never liked Wong Kar Wai, I feel very indignant to Director Wong: he has never been around four or six, it has not been two or three days, and he has stated more than once that he values expressing needs more than anything else.
Halfway through the movie, I was wondering: why do I understand it so well? After reading it, I am even more puzzled: I still think I understand it, I understand it. Looking at the cast, you can also expect the intricate love entanglements that Wang's films have always had. All the characters' relationships are strung together into a food chain, and it is never possible to have two lovers. All the details speak for themselves. Familiar warm light. The familiar red contrast on a large green background. Has always been fascinated by the texture, sophisticated. The grasp of smoke is still wonderful. Acting on the glass, confronting the wandering men and women. Familiar streets, dirty oil lamps. Familiar faces, slick temptations, sadness. Luxurious and gaudy nostalgia, as well as the futuristic atmosphere of hollowing and splitting. Familiar narration, even Kimura Takuya's voice is familiar to me because I have watched too many Japanese dramas.
It will feel like a condensed version of the best of Wong Kar Wai's classic movies. All the dialogue has a source, all the characters bear the name of the past. I am very afraid that the future films of Wong Kar-wai will be turned into chapter novels, which will never end.
I think if 2046 makes me a little dissatisfied, it's not because it's not 46, it's just because it's too 46.
Supplementary Date: 2004-10-16 22:27:25
Clockwork Orange asked me, what does the tree hole mean, and we both said: female genitalia metaphor!
I heard that Kimura was dragged down by 2046 a lot. Five years ago, he was very old. No wonder that sentence: "How long does it take to leave 2046?"
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