So with whom to share Wong Kar Wai, the best answer is his lover. With him or her in love, every sigh is a good word, with a joy that surpasses the movie itself; or with her or him, who is burnt out, like a furnace of ashes leaving the residual warmth of the night, mutual understanding becomes burnout , so that you can leave a broad space to think, without leaving room for loneliness.
Many years later, when we sit in the cinema of memories, we will find that we have become part of the movie. Also lingeringly in love with a mistake, spending the best minute of your life together, and then all the effort you make for the rest of the time is to get back to this minute, but unknowingly in the same posture, Miss another minute.
This is Wong Kar Wai.
2046 may be a set of room numbers, the title of a vertical novel from right to left, some vague faces and smells; 2046 may be a year, a train, a robot; 2046 may be a small movie Cafe, a prominent label on a DVD, the name of a fragrance. 2046 may be a movie, a dream. This dream belongs to a 46-year-old Chinese director named Wong Kar Wai.
I haven't seen such a pomp for a long time. Stars and bright names will jump out to compete for attention. The entanglement from the start of shooting to the release of the entertainment version has never stopped. Thinking of the quietness of "Evil and Poison in the West", probably the benefits of the hype in recent years have become increasingly prominent, and the paparazzi are all-pervasive, even the low-key Wong Kar-wai. Sometimes I can't help but maliciously speculate on whether the ratio between the cost of the film and the box office can stabilize the fragile nerves of the publisher.
These big names have their own backgrounds. I think Wong Kar Wai is getting old, or I'm not old enough.
The magic of his capture of the actor melts away. There is a subtle dislocation between the role and the actor. This gap makes this person's temperament always unable to match that person's body, like an ill-fitting suit with a back neckline that is one centimeter away from the neck. I chose the wrong Kimura, or I couldn't catch Kimura. I can imagine what kind of character he should be and what kind of position he should be placed in, but there is a lost actor in front of the camera, not a lost child. I also believe that Zhang Ziyi is a talented Beijing girl, so this slut who permeates the old Shanghai atmosphere is not her. Missing her smile in "Heroes" and Tony Leung's opposite play made Bai Ling stand only a pile of luxurious cheongsam and enchanting posture. Carina Lau is only in the state, so she has never been outstanding - Faye Wong is no longer the elf jumping between sunlight and daily life in "Chongqing Forest". Only Gong Li's two appearances scared me because she was so beautiful. In "Shake, Shake, Shake to Grandma's Bridge", the dust that she pursued with all her might, was finally polished by the years after 9 years, and the extravagance of the new nouveau riche has faded away. Her sorrow and vicissitudes can make any experienced The man is moved. It's not the kind of mind that sprouted when facing Zhang. It is slowly sinking in a spiral, and the heart is amazed with pity and respect.
As for Tony Leung, the real soul of 2046, he and his moustache are like a flower and butterfly, constantly shuttling between the camera and the brocade and the temples. Take Ah Fei, who lives in the heart, and compare it. In 1991, Leslie Cheung, all the beauty and coolness was tempered into a fast blade by Wong Kar Wai, and the blood sealed his throat. Tony Leung's signature electric eye is no match for his indifferent side. That's the real prodigal son. No heart, no feet, but wings that never stop. Even Zhou Muyun. It is no longer in 1991, Zhou Muyun, who was ahead of others by more than one minute for 30 years. This may be a metaphor, because for Wong Kar Wai, the past is always good.
Just like this story. Maybe it was too good for him to express. In the end, we can only see some fragments, some scenes, all the background factors that reveal the state of mind are removed, and even the political connotations imposed on "The True Story of Ah Fei" are no longer imposed, and become a flower open on the sea of memory. Rootless flower. What we see is just another Zhou Muyun, who futilely made up his own life in an attempt to regain control of his destiny, and the story he wrote in the end still betrayed him.
If the past is a black hole that can never come back, what should I do, take you away?
Or, let you take me away?
I want to rebuild a pot of good tea, find a book that is so old that I have forgotten all the sentences in it, sit down and recall the beautiful women who have passed through my life, put every number I have ever had, slowly with my fingers , a little bit of re-polishing.
So, this literature to my next lover. I love you in vain with all the longing for the unknown and the weariness of the known.
View more about 2046 reviews
