One, the transformation of props. By 2007, the cup that Cousin A'e hid became the blueberry in Jeremy's coffee shop. All are metaphors about true love.
Second, the film's collage strategy. The paper plane thrown out by A'e flew smoothly into the sky and turned into a real plane.
Third, the theme of tears. This "As tears go by" planted the seeds of the ominous "tears" in Wong Kar-wai's films, and it will gradually mature in subsequent films such as "The True Story", "In the Mood for Love" and "2046". Although in "Evil in the East" and "2046", the "tear theme" began to be covered up by the more extensive "time theme", and turned back into a contrasting (or auxiliary) theme, but its tone was still strong and unacceptable. Or missing. You only need to think about the tears that the White Camel Mountain woman in "Evil in the East" shed that lasted her whole life.
Tears are women's tears. What Wong Kar-wai arranged for his heroines was only the fate of waiting and endless tears. And his male protagonists are not Shenying's servants. They never watered the weak fairy grass every day, but the fairy grass was arranged to give them back their tears.
Most of the women in Wong Kar Wai movies are unfortunate. Although the male protagonist of "Carmen in Mong Kok" is slightly better than the later ones (sentimental), he still gave up love without hesitation at the critical moment of choosing one of the two. A woman's happiness is always just a grain of sand on the mountain of happiness for Wong Kar-wai's male protagonist, too light. Too light to even weigh for a moment. The image of the first unfortunate woman in "Mong Kok Carmen" is a bad omen, foreshadowing the fate of the "infatuated woman with a heartless man" that the heroine of the film cannot get rid of in the future. As if women are born to be let down, they can only wait forever and cry silently, - silent tears...
From the point of view of female criticism, it can be said that these films are domineering male texts. Female discourse is seriously missing in Wong Kar-wai's films. We only see weak and beautiful women (but waiting to be abandoned), wasted love, betrayed sincerity, and despised tears. They are weak, wait passively, and love to the point of losing themselves. Everything we see of them is a foil centered on men, but there is no expression or affirmation of women's own value. In Wong Kar-wai's films, women have become complete appendages to men, no longer living individuals with a rich inner world and self-worth.
From what is expressed, I don't like Wong Kar-wai's "tear theme" films (the "time theme" is more interesting). But if you want to consider the way of expression, that is, those complex, secret, ingenious and delicate artistic techniques, it is another matter.
Fourth, the confusion. The title of the film is "Mongkok Carmen". One more note, the image of Yang Caini in "Evil in the East and Poison in the West". I also hope that the passing Fang family will give some pointers.
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