The True Story of Ah Fei, In the Mood for Love, 2046. It took Wong Kar-wai 15 years to finally justify this trilogy. When I watched 2046, I frowned frequently. It was a mid-life crisis, and my taste has become so bad. From the music, costumes, dialogue, scene design to the selection of actors, I can only give three stars to the 2046 drama. But together with The True Story of Ah Fei and In the Mood for Love, it is enough to make a complete story. Wong Kar-wai is a man of calculation, he turned the lackluster 2046 into a summary of The True Story of Ah Fei and In the Mood for Love. After going through 2003, let this film be filled with explicit miss.
Lulu, who met Zhou Muyun again, didn't remember her Lushui lover, and only stopped when Zhou mentioned her ex-boyfriend. "You said I looked like your dead boyfriend, and you taught me to dance cha-cha. You liked talking to me about your dead boyfriend, saying that he was an overseas Chinese from the Philippines and a son of a wealthy family. Originally you wanted to marry him, It's a pity that he died too early. You said that he was the one you loved the most in your life." At that moment, we were deeply struck, and the Philippine greens came to our minds. It turns out that thoughts are colored. It turns out that all memories are damp. With a single touch, all kinds of thoughts will ooze out, and the time carefully buried in the corner will pour out. At first glance, there is still blood-like resentment on it.
The whole movie is the process of Zhou Muyun finally letting go and deciding to give up. The flowers and plants along the way are looking for a substitute for Su Lizhen. In the Mood for Love, Su Lizhen rejected him. In 2046, he finally found the answer to that secret. "Will you follow me?" - Maybe she didn't agree not because she was slow, but because she already had a heart. April 16, 1960, one minute before three o'clock in the afternoon, that minute belongs to him and her, and also to you and me. When that beautiful and vicious face gradually disappeared from the picture, we and Su Lizhen were both caught in the spell of this lifetime. A one-minute friend, dancing alone in the mirror, a resolute back, a train without sunset, the roses in my memory will bloom again and again, blooming to full blooms, and blooming all over the sky.
A story is told for more than ten years, and eventually you will find that, like the butterfly dream, the protagonist is already dead at the beginning. Years later, the story is still alive because of him.
Zhou Muyun's first appearance was in the last three minutes of A Fei Zhengzhuan. If you thought this was a continuation of the footless story, you would be wrong. Not everyone can turn irresponsibility into a matter of course, make Lulu willing to post it, and make Su Lizhen say ashamedly, "It doesn't matter if I don't get married, I just want to be with you." Many times, irresponsibility is just not responsible. Responsibility, Fei Zai is just Fei Zai. A flying boy like Zhou Muyun can't charm a woman by heart.
I suddenly felt that the whole story went back to the true story of Ah Fei, Lulu came to the Philippines with her luggage, and Su Lizhen continued to sell night tickets listlessly. Those seemingly "undeveloped" relationships - Carina Lau and Jacky Cheung, Maggie Cheung and Andy Lau, can't actually develop at all. And Zhou Muyun is just an irrelevant person, he is neither a continuation nor a new one. He struggled a lot but was always like an outsider. In fact, this story has already ended, and everything can no longer develop on the train in the Philippines. In the Mood for Love and 2046 are just the sequelae of the true story of Ah Fei, a deep and self-abusing infatuation. In the cyclical time and space, together with Wong Kar-wai, we went back to the original point again, seemingly inadvertently but missing someone so madly.
You are the beginning of everything and you are the end of everything.
Wong Kar-wai once said something worth pondering about, "The True Story of Ah Fei is Leslie Cheung's spiritual projection." I am very curious, the role should be the director's self-projection, how could it become the actor's spiritual projection? If he means that acting is worse than directing, and Leslie Cheung's ability to control the character exceeds the charm of the character itself, it can well explain why one of these trilogy is not as good as the other. Wong Kar Wai is a director who needs actor stimulation. For Leslie Cheung, perhaps a long time ago, he has paid tribute.
Zhou Muyun finally decided to give up. Is this also Wong Kar-wai's self-salvation - getting rid of the 15-year-old A Fei plot? But don't forget, some people are not for forgetting. The more you want to know if you have forgotten, the more you remember. Du Kefeng said, I am honored that he let us into his space, and I will never be able to get out of this space.
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