1. The style is too dazzling, and the comments are almost all based on this. But it's actually a very powerful script, the volume is close to that of a novel, very much like the bottom of the box that Wong Kar-wai took out for a long time.
Just six characters, A Fei, Su Lizhen, Mimi, Jacky Cheung, A Fei's mother, and the police. Take a closer look at everyone's "appearance", almost all of them are magical. What impressed me the most was that Jacky Cheung climbed in through the window, and went out immediately after coming in—like a little brother, Mimi was greedy for earrings, and then was lured by Ah Fei to his house—the easy girl who flew into the flames.
The characters are all full, with complex stories behind them, only showing "icebergs" (such as Xiaoxian's term), firmly photographing the characters in the "now" state, master-level self-confidence.
2. Wong Kar-wai has been shooting "romance" all his life. He is better at shooting in detail, and every stage of romance is written solidly, concretely, and convincingly.
"Encounter" is hard to write, but every encounter here is well written. Thinking of "The Last Night on Earth", the "encounter" in it is Huang Jue grabbing Tang Wei's hair, then Tang Wei wants to light a cigarette, and then they start flirting with wild grapefruit. Very perfunctory, obviously beyond Bi Gan's ability. If he doesn't solve this problem, future films will just spin around.
Because it is romance, I also feel overly hypocritical in some places, but I think so, to judge whether something is good or not, we must divide "what the author wants to do" by "how far he has achieved it" to score. In short, A Fei must have full marks here.
Later, Wang Jiawei wanted to make a love story for everything. When he came to a generation of masters, in addition to taking group portraits of martial artists, he just found the character Gong Er and asked Ye Wen to fall in love with her. , use the romance of Ye Wen and Gong Er to connect the relationship between the south and the north. So I have always felt that the generation of grandmasters is strange.
3. The editing is also very good. It was edited by Tan Jiaming. I think it is slow in some places, and it is a little faster in some places. There is a difference of five or six frames. According to my observation, his idea is to cut according to "shape", so he likes "quiet" followed by "quiet" (of course Mimi's appearance is a glimpse of "quiet" followed by "dynamic").
"Modeling" can be the shape of characters or the shape of space.
Later, I started from Chongqing Forest and switched to Zhang Shuping's cut. I remember that Zhang Shuping liked Pasolini very much and pursued "the vitality of the image", so he liked "moving" and then "moving", and sometimes even deliberately cut abruptly and rough. Sometimes there will be a dislocated splicing, or an upgrade, it should be because Zhang Shuping is more playful.
But whether Tan Jiaming cut or Zhang Shuping cut, Wang Jiawei pursued omission and blank.
Because of the omission, the characters will disappear and reappear inexplicably. This situation is most obvious when the spring is full. His logic should be derived from the way of writing in the novel, such as "... So he left like this, I saw him again, under the dim street light", similar to this kind of thinking to cut.
The blanks refer to those empty mirrors. Of course, Antonioni and Otsu also like to use them, but Wong Kar-wai can really do it quickly or slowly, so that people can really notice the emotions of the empty scenes.
4. About the rainforest. The rainforest, like the springtime waterfall, is the same as the part of buying dumplings in the Mood for Love. It is a landscape used to "be stared at". They appear suddenly and repeatedly, with no specific meaning, but just beautiful, so you keep staring at them. Very powerful invention, similar to decorative wallpaper, blank space in books. When Wong Kar-wai found something similar, he would feel at ease.
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