I thought that the theme of "The Grandmaster" would make Wong Kar-wai's film a complete makeover, creating a real dream of kung fu entertainment, not a love affair. Unexpectedly, the film finally fell on a love word, which is indistinguishable. Ip Man became famous all over the world with three moves, Tan, Li, and Fu. Here, I would like to sum up Wong Kar-wai's films in three words: desire, separation, and read.
Yu:
"To say that you have no regrets in your life is a prank. If you really have no regrets, how boring your life would be."
The online plot of life is Wong Kar-wai's housekeeping routine, and it is also an internationally renowned popular foundation. There are no strict protagonists in the movie, they are all living beings, you come and go, one goes up and one down. Wong Kar-wai is good at dismantling the narrative to remove the individuality of the characters and assimilate them into the sum of the thoughts and feelings between people. Whether you are Ouyang Feng ("Evil in the East"), Zhou Muyun ("In the Mood for Love"), or Ip Man (played by Tony Leung), you are all just the same person. It seems that the story cannot be pinched, but it is actually a vague mass of meat, and there is a freshness hidden in it, that is desire. In life, there is always something that cannot be avoided or circumvented, and is even eager to place it. But there are people who want to hide it, such as Gong Er (Zhang Ziyi) in "The Grand Master". This kind of emotion is not so much a pain as it is an addiction. Under the long-term pain, it is also accompanied by short-term happiness. Gong Er, who smoked opium until death, got rid of the precept, both in image and motive, which well interprets the love that cannot be stopped and ends in love. Zhang Ziyi's excellence lies in the determination of the role. The black fur is lined with white flowers, and the stunning shape highlights the tragic fate of Gong Er Cancan's death like a bone.
With me and without you, "see yourself".
Li:
"All encounters in the world are reunions after a long absence."
Wong Kar-wai's films have an aphrodisiac romance and tear-jerking sadness. The most painful thing in the world is that you only see true love when you die. Oppositely, someone lives alone. It was once teased in "Journey to the West", and the soundtrack that appeared at that time was the theme song of Wong Kar-wai's "Evil in the East and Poison in the West" - "The Lonely Shadow of Heaven and Earth". Wong Kar-Wai often uses soft focus, mirror shadows, sideways or distorted close-ups to highlight the loneliness of the characters; he uses dazzling mirrors, halos, and saturated colors to emphasize inner obsessions. "The Grandmaster" still continues this style, and the freehand brushwork is the best. As a symbolic clue of a character, Ip Man strung together all the separations of the background of the times and the martial arts dojo. On this thread of despising life and death and emphasizing parting, some people enter and some stop; some are for face, and some are for inner. Just talking about the separation of Ye Wen and Gong Er, the closest distance between the two, appeared in the only fight, and they have never touched since then. The so-called sixty-four hands and torn buttons are nothing but a lonely mirror image. Gong Er is a mountain in Ye Wen's heart, he will never know the scenery behind the mountain; Ye Wen is the green silk ember in Gong Er's golden house, she has already buried herself in time. The two face each other in the world, and this is the only thing they can interact with. The fate of the past has stopped at the pass of the times.
When I have you without me, "see heaven and earth".
When you read
"If you don't forget it, there will be an echo."
Wong Kar-wai likes to use the objects and props around the characters to get rid of his temperament. Looking up, there are imaginary signifiers everywhere, and even some have no reason or basis. Just like the pot of snake soup boiled by Ding Lianshan (played by Zhao Benshan) in "The Grand Master", it is delicious by itself. Therefore, Wong Kar Wai's films are always private kitchen dishes, not popular tastes. All those who were looking forward to the beginning, climax and end of the story were all speechless. Rather than letting those objects have a metaphor, it is better to give up their metaphor and leave only the metaphor. Don't look for metaphors, no metaphors are metaphors. To read is to think about the opponent's every move, horizontally and vertically, like a game of chess. The power of love between Ye Wen and Gong Er lies in their sympathy everywhere. But if it is really close, the thought will become an absolute sound. Reminiscing about Wong Kar Wai's films is also reminiscing about his own love power. Once upon a time, where did it fall. And how much of such force is bounced off, blocked, and wounded. "Some people say that the biggest trouble for people is that their memory is too good. ("Evil in the East and West Poison")" And the bigger worry is that in the passage of time, it is impossible to say that love word. Love, it does not belong to the future. In the world of Yunyun, everything is like this.
When there is no me and no you, "see all beings".
Although "The Grand Master" has the carrier of martial arts and biography, it still conveys the constant theme of Wong Kar-wai in essence, that is, the compatibility that men and women can't get, and the implication without sex is just a stupid heart. If there is a story in "The Grand Master", it has all appeared in the subtitles on the card, and it belongs to the bone research of Ip Man and his contemporaries. The images outside the subtitles, coupled with the muttering narration, are the real part of the film, vaguely carving out the love, lust, and memory of the world. That's my faithful preference for Wong Kar Wai films. But what makes me unbalanced in "The Grand Master" is that the Confucian doctrines of the martial arts era, the displacement of human nature due to family grievances, and the cultural reconciliation of Benshan Media are all there. Although they can be related to eroticism, they have dulled the spirit of emotion. I still prefer Wong Kar Wai, who is in love with lust, touching your drunkenness through the bones.
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