The beginning of the film slowly swept through a tropical rain forest filled with light mist, coconut shadow banana leaves, full of green shade, deep and dense, smudged into the eye sockets. The languid guitar strings began to sound, but an inexplicable uneasiness surged in my heart. Originally, dark green was a color that dilutes the tranquility and vitality, but here, it brings the opposite feeling. Being messed up, I vaguely felt that something was going to happen, but I didn't know what happened. But Wong Kar-wai will never tell you a complete story. He just throws some characters into the audio and video circulation, and asks you to follow in the footsteps of these people and make it up by yourself. What kind of story can you make up? Just a mood.
He appeared so quickly in the first shot, the man with an expressionless face, with a delicate face and a straight nose like a stone carving, his smile stayed at the corners of his eyelashes and mouth, and disappeared in an instant, turning into a sullen emptiness. Empty. However, he has a kind of intimidating magic, a minute-by-minute fairy tale, a fiery kiss, can make two women with different personalities insane and humble for him and even give up their dignity, "You have the ability, you can cure me, I will take You can't." Maybe there were many before. Why did the women who met him seem to be bewitched, and they all became so low, low in the dust, and blooming with beautiful flowers. Maggie Cheung, who is as demure as iris, or Carina Lau, who is as warm as Dahlia, even if other men have already discovered their beauty, he is the only one who turns a blind eye. Shi Shiran pulled away. Sora left lonely eyes and wet tears, sympathizing with others. He made others care about him and love him. But he doesn't care about anyone, and he doesn't love anyone. Seeing him dancing alone in front of the mirror, it reminds me of Narcissus, a narcissistic young man in Greek mythology.
The opposite of narcissism is low self-esteem, and he banishes himself into the wasteland of time, lest he be swallowed by the surging restlessness and loneliness. So he treated his adoptive mother in a tense way, beating his lover cruelly and violently, but most of the time he was uninhibited, didn't care about anything, and couldn't get his energy up. Such a person is defined as "A Fei" by the world, as if a symbol is engraved on his soul, and where his soul is, he follows the footless bird flying in the sky. Therefore, no woman walking on the ground can't keep her. She is as persistent as the dancing girl played by Carina Lau, naive to follow his footsteps, but I don't know how the footless bird leaves footprints, even if it crosses in the sky The faint traces of his face were long since covered by the shadows and washed away with the rain. In the film, there is such a detail. In the middle of the night, Carina Lau asked Xu Zai, who was lying leisurely on the bed, "What time is it?" Xu Zai raised his hand and looked at his watch, telling her that it was three o'clock. At the end, Xu Zai asked Andy what time it was, and it was still midnight at 3:30. I vaguely see that he has a watch on his hand, but at this moment he has completely given up the possession of time, as if laying the groundwork for a sudden death later.
Raising him to deceive him but reluctant to let him see him as a wrongful adoptive mother, this old Shanghai courtesan who speaks fluent Shanghai dialect, revealed Ah Fei's weakness and never dared to face the fact: "I'll tell you now, you Who is my mother, I've had enough. You used to use this excuse as a human being, and you can't use this excuse in the future. Do you want to fly? Well, fly! If you want to fly, fly farther, you don't have to Let me know one day that you have been lying to yourself." With her teeth biting into her flesh, she had to admit that she was also a woman who was bewitched by Ah Fei, but it was just another form of love. Even if he hates him, he doesn't want to be forgotten by him. But the sadness of the adoptive mother is that she doesn't know that Ah Fei can't love or give, and the only thing he is good at is forgetting. Forget the past, forget the present, forget the future. In oblivion his loneliness lives forever. But "he will always remember what he has to remember", for example, one minute before three o'clock on April 16th of a certain year, he made a one-minute friend with a woman named Su Lizhen. What he never imagined was that a few years later, in the same time and space of different light and shadow, there would also be a woman with the same name and another Ah Fei staged a love-hate entanglement.
Although in order to make this character with some magnified aspects humanized and convincing, the director set him up to find his biological mother, an ideal that is almost paranoid. But ideals melted so easily in the tropical heat, Xu Zai walked to the depths of Coconut Grove Avenue without looking back, leaving a decisive back: "Since she doesn't give me a chance, I will never give it to you. She has a chance." The guitar strings sounded again, and the camera swayed slightly with the footsteps. I loved this scene very much. Leslie Leslie walked ruthlessly with his shoulders and arms shaking, with an indescribable aesthetic meaning and feeling of loneliness.
He has been talking about Ah Fei, but he definitely cannot ignore the group of people around him. In Wong Kar Wai's films, any actor will exude a different kind of brilliance. It goes without saying that Maggie Cheung does not have many scenes, but she is restrained and restrained. Carina Lau I always think is an excellent actor, but her characteristics have not been fully explored, and the dancer she plays is relaxed and at ease, dancing charmingly on the stairs, and Maggie Cheung's opponent, she asked Xuzi's adoptive mother in a daze: " Am I stupid?" Impressed. Jacky Cheung has always been a good little person, the timid and shyness of secret love, the decision to maintain humble self-esteem, and the last sentence of "Come back to me" to Carina Lau, which is touching. The adoptive mother played by Pan Dihua is definitely a shining figure. It is her soft Shanghai dialect. The old-fashioned style reminds the viewer of the time and space of the 1960s. In the change of expression, it is properly interpreted. In addition to making good use of unfixed camera positions and contrasting shades of light and dark, Du Kefeng's manual cameras are not stingy with close-up shots to portray the hearts of characters. Of course, I have to mention Andy Lau's police role. He is completely the opposite of Ah Fei, motivated, rational and loyal, and also has the hidden tenderness of waiting in the phone booth in the rainy night. He is down-to-earth and does not believe in the deceitful legend of the footless bird, so he survived. It would be more appropriate for the heroic Andy Lau to play such a role. But such a seemingly perfect image is doomed to lose to Ah Fei. In images, people prefer imperfect perfection.
Clocks, numbers, mirror images, monologues, atmosphere, nostalgia, alienation, all of Wong Kar-wai's key words are all displayed in this masterpiece of his style, each of which can be deconstructed and analyzed. And what we are looking for may only be the despair and memories of deja vu in the soul.
Xu Zai said: I most want to know what I will see at the last moment of my life, so I will never close my eyes when I die. Sure enough, when the footless bird that fantasized about flying was shot down by a sudden bullet, the sentence was complete. He opened his eyes, but what he saw was only a tiny ray of light leaking from the narrow transom, and outside the window, driving past the boundless green trees, the color of life.
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I could write
two years ago, but two years later, I don’t even have the courage and patience to read
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