The story of "Blueberry Night" can be simplified from space to that Elizabeth, played by Nora Jones, has to cross a street, and his cheating boyfriend lives on the opposite side. For this reason, she has to choose the farthest way to go, and that is to cross. The entire United States, time is a year, finally (back) to the other side of the street, looked up: this room is for rent. Although Elizabeth did not have the perseverance of this behavior written on her face, she was even quite casual and casual, but from her on-road behavior and saving money to buy a car, she and Wong Kar-wai's previous classic roles have the same romantic stubbornness, as inadequately. A Fei who never landed, Li Yaohui and He Baorong who insisted on seeing Iguazu Falls, 223 who ran and sweated instead of tears in love.
Fortunately, the people Elizabeth met along the way, although there were also lost policemen, hysterical women, and handsome men with special fetishes, they were not as lingering and wealthy as Wong Kar-wai's previous Hong Kong-style fringe counterparts. In particular, Leslie played by Natalie Portman is more different from the aforementioned characters in Da Hei Chao, and she really looks like a pleased beauty from the American independent production and from Sundance. She is carefree and quite scheming. She was overjoyed but not nagging and complaining, and there was no such "classic dialogue" that "It's better to start from scratch" and "Will you go with me if you have one more ferry ticket". Originally, Wong Kar-wai used gambling as a life-threatening petty materialization of chips; originally, she just died, and her father left her with a far-reaching symbol. But she just went to the road to borrow money and domineering to occupy the car as simple as that. However, Wong Kar-wai did not let her develop the story into "Buffalo 66", "The End of the Wild Flower" and "Broken Flower". Those American independent small productions are like a shallow dream to me. They are a little bit emotionally psychedelic, flying a little bit, and easily pulled back onto the road of reality. And "Blueberry Night" did not give such psychedelic space from the plot conflict and character relationship, in fact, psychedelic is also very rich.
To be harsh, contemporary Chinese forget new terms and concepts as fast as the country’s changes. People started to invest in VCD from "Chongqing Forest". Nowadays, no matter how serious or serious they are, they have already been ridiculed. The dissolution is clean, at least, I like and look forward to ridiculing the taste of petty bourgeoisie. To overthink it, maybe Da Hei Chao should also be tired of his own sighs and complaints, so he abandoned Su Lizhen and Zhou Muyun with delicate emotions, and ran to the Pacific Ocean with Elizabeth and Jeremy, who have rough emotions, maybe he I also want to cross this extremely wide petty bourgeoisie street that has been expanded. However, the ambiguity does not seem to be suitable for this group of Westerners. We are used to seeing their straightforwardness and remembering the intersection between them. The sharpshooter Jude Law aimed at Rachel Wei in "The Enemy Now". Now, I have also directly confronted "Heart Stealers" with Natalie Portman, and it seems not so easy for them to tango. As a result, Da Hei Chao's petty bourgeoisie street insisted on letting a few ignorant guys go around, but of course he got lost and fainted.
At the beginning of the petty bourgeoisie's education in art and film, they even regarded Dahei Chao's boutiques as an introductory nutritional product that must be gnawed down. More people also felt that "2046" or even "In the Mood for Love" could not be understood. So this time, "Blueberry Night" is so simple that even Jiang Wen’s daughter can really understand it. The main line is Elizabeth crossing the street. During the year of crossing the street, I ran into Jude Law in New York. He likes to make blueberries and collect blueberries. The key and the handsome Manchester man Jeremy who watched the surveillance video; in Memphis, he met the drunk policeman played by Strezern and his wife (played by Rachel Weitz) who cuckolded him; in Arizona Met Leslie played by Natalie Portman and drove with her all the way to Las Vegas. Finally, after having had enough, I went back to New York to eat blueberries, and Jeremy developed from stealing kisses to exciting kisses.
I personally tend to hope that Wong Kar-wai sums up the stories of Su Lizhen and Zhou Muyun in "2046". The secrets of the tree hole in "In the Mood for Love" and the dreams that are embarrassingly yelled out in "Happy Together" Throw it on the 50-year-old train of "2046", to the robots who don't understand and the Japanese who don't understand Chinese. Then leave the rootless land of Hong Kong and come to the vast land of the United States, the role may be a major exchange of blood. But maybe because the traces of past characters are too deep in the memory, I always look for the stewardess in Chongqing Forest on Elizabeth, and the No. 223 police officer who loves to eat canned pineapple on Jeremy, the owner of blueberry pie. "If the key is lost, the door will be closed forever", "I have been using the camera as a diary to record my life", "Find a habit of writing letters to make myself forget the past" and "I know you are not Elizabeth, But I’m still happy to talk to you.” These lines, which are obviously transplanted from the past, make it impossible to separate these new characters from the past.
But the United States does not have Zhou Muyun and Su Lizhen. For the theme of crossing the street, Da Hei Chao could not move the blueberry store story back to Hong Kong, and let Kaneshiro and Faye Wong enter the battle. Therefore, the British and American actors and Wang-style lines in "Blueberry Night" did not make the story painful and the characters lonely. It is neither a port (petty) bourgeoisie nor a beautiful (psychedelic) illusion, so a sense of inconsistency fills 100 minutes.
I even guessed that if the dialogues in "In the Mood for Love" and "Chongqing Forest" become English, and even the characters are replaced by them in "Blueberry Night", will these dialogues and characters be remembered by us? Cultural differences are significant, and language traditions are strong. Wait, don't the French also pursue the Big Black Super League, and "Happy Together" won't be the best director in Cannes? Isn't the vivid English name (Ash of time) widely praised for "Evil and West Poison"? But I believe even more that we remember the language lines that belong to the Chinese tradition that are immersed in the heart of the Chinese tradition than the French remember the cheongsam and the ambiguous movements. What "Blueberry Night" may face is that the dialogue is forgotten in both Chinese and Western channels.
The blue of the New York dessert shop, the red of the Memphis bar, the gray of the Arizona highway, the quiet or jumping shadows in and out of the glass window, the deep and dim focus when one person complains to others, photographer Darius Khondji contributed his good rendering Talent. From the repressed deep black in "The Seven Deadly Sins" to the moist and youthful light green in "Stealing Fragrance", and then from the seductive and in-depth mysterious blue in "The Beach", he not only exaggerated the characteristics of the place but also allowed the film's tone and mood express. Dessert shops and bars let him give full play to his fascination with small scenes such as close-up and close-ups. The Iranian-born photographer was even able to give full close-up shots to Zidane in a 90-minute match between Real Madrid. , Rather than the wide Bernabéu Stadium. It seems that this way, the characters can be forced out of their souls and conflicts can be exploded in front of the big screen. In the close-up shot in a slow-motion shot, Elizabeth was sleeping sweetly on the bar with her head sideways. There was no soundtrack, no sound, or even gasping. At this moment, if any audience dared to ring the phone, he should be thrown out, but it was romantic. NS? I don't think. In the two bar clashes between New York and Memphis, the train outside the window that was quickly edited and the strongest noise urged Elizabeth to go on the road?
Musically, due to the protagonist relationship of the young jazz queen Nora Jones and the petty bourgeois nature of jazz itself, the songs are mainly sung by Nora Jones himself and Cat power, and Cat power also briefly appeared in the film, chasing Enough of the sunset, go back to New York to find Jeremy and lose the key. And Ry Cooder, the best slide guitar master for Arizona and Texas themes, actually has a lot of soundtracks, but I didn't feel it at all during the entire screening time. I don't know whether it was my failure or the failure of the film. What I didn't expect was that the melody named Pajaros appeared in the latter part of the film, and this is a representative work of the Argentine soundtrack Gustavo Santaolalla, who made his reputation for "Broken Arms Mountain" and "Motor Diary". In my memory, in addition to reality shows such as Metamorphometer and CCTV5 promotional films that love to use foreign familiar soundtracks (especially "The Years of Love"), a movie itself rarely uses the original soundtrack of other movies, could it be This classic soundtrack by Gustavo has become popular like a pop song that characterizes the times. Just use it? But watching Elizabeth easily drive back to New York, this melody can only remind me of Che Guevara's bitter and deep hatred in "Motor Diary".
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