"All the encounters in the world are reunions after a long absence." This sentence seems to be said by Wong Kar-wai to himself and to the audience. After 16 years of thinking and 3 years of anticipation, he only saw himself. This time, he saw heaven and earth for a long time, and saw all beings in detail. From the very beginning, the narrative method of the film is still full of Wong Kar-wai's flavor, and the language is full of Zou's literature + Xu's martial arts + Wang's aesthetics, literary and martial arts performances, and martial arts literary performances. Beautifully sad, integrated. The big era is really an ethereal back, and the screen is still magnified by the corners of the eyes and brows. In my opinion, this is a Crouching Tiger, Hidden Dragon + In the Mood for Love-style movie, so I repeatedly traveled back to this martial arts style and humanistic feelings halfway through. The movie is still picturesque, and the narrative is jumpy and fragmented, showing not the legend of Ip Man, but the spirit of the martial arts people.
The music in the film uses "When will you come again", "When you leave tonight, when will you come again". I saw that the subtitles were completely over, and I saw that many people's names had become black boxes, and I felt sad. I can still remember a few lines with deep charm, "All the encounters in the world are reunions after a long absence." "If you never forget, there will be echoes." "It was my luck to meet you when I was most beautiful, but I didn't have time. "It would be so boring if there were no regrets in life." "I chose to stay in my own years." ... Maybe I feel plain or hypocritical, but I will still be moved when I hear it on the screen. Still love the slow mood. If "The Grandmaster" is a film by Chen Kaige, you may be able to see traces of textual research on golden buildings, brothels, tea rooms, etc., and if it is a film by Feng Xiaogang, it will also have the selling point of restoring the grand ambitions of history. In Wong Kar-wai's films, it's like a photo with a wide aperture, and the blurred background can't see anything clearly, only some brilliance and a texture. I like this kind of atmosphere, and spend a few hours in a trance in a tangled entanglement. Wong Kar Wai's films are like an ordinary story + a boring story + a puzzling story. When you look back, you will never remember a story, but a sentence, a fragment, or a tune or a touch of color. The early "A Fei Zhengzhuan" is the green color of moss. "Chongqing Forest" records love with numbers, "When we were the closest, the distance between me and her was only 0. 01 cm, 57 hours later, I fell in love with this woman. "I don't know when it started. There is a date on everything. The saury will expire, the meat sauce will expire, and even the plastic wrap will expire. I began to wonder, in this world, what else is not. will expire? "In "Fallen Angel", Li Jiaxin ordered a song by Li Jiaxin. It was "Forget Him" by Shuyi Guan, and the moment the song sounded, it was a black and white picture of Li Jiaxin. Color tone; the back of Dawn Color's departure, met the colorful Karen Mok. Tony Leung and Leslie Cheung were passionate in "Spring Comes Together", and that was my earliest impression of him. In the end, when I was confused, I remembered the sentence "It's better to start from scratch." "In the Mood for Love" is my favorite movie. The slow-paced little sentiments are eloquently told, and the emotions that cannot be expressed. Those years that have disappeared seem to be separated by a piece of dusty glass. No. If he can break through the dusty glass, he will go back to the years that have long since disappeared. In "2046", he continues to think that he can't let go of that person, hoping to return to 2046 where nothing will change. So I set foot on the 2046 train, and the only thing I can go is my own memories. I used to love it sincerely, I hope this regret will disappear with time like the shelf life of canned pineapples. Tony Leung's "Ip Man" is finally in "In the Mood for Love". In the 1990s, it became the predecessor of Zhou Muyun, who was wandering in a foreign land. The date of the canned fruit in "Chongqing Forest" is a metaphor for the time period of love, and the details of pouring out secrets to the tree hole in "In the Mood for Love" have been extended to "2046" again. The whole number 2046 has become a metaphor, full of symbolism. It is a sigh of lost emotion, lost memory, lost opportunity, and even more of an emotional outpouring of these longing and unreachable things. The only thing I have in mind in Night is that line and Jude Law, Sometimes, even if you have the keys, those doors still cann't be opened. Even if the door is open, the person you're looking for may not be there . In these films, there is always a different kind of thoughtfulness, and everyone can find someone who can substitute themselves for at least a moment. Thoughtful enough to feel cold, the hot air hissed and escaped, the shadow attached, hugging you lingeringly. Those emotions floating in the wind, obscure, uneasy, awkward, contradictory, love and hate, dare not, jealousy, pride... All of these can be sought one by one and finally resolved.
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