There is no forest in Chongqing
The charm of Film Art
it's good for classic films to be simply watched, as works of art, just for you to enjoy. If you want to talk about classics, you will still be a little timid, people are too familiar, what you think, what you want to say, have already been said by countless predecessors. However, it is still on my mind, and there are still more viewers to talk about. This is the charm of film art, and it is also the most convenient way for us to intersect in this cold world.
every director's film is a unique experience: Ang Lee's film is like an elegant gentleman talking about stubborn loneliness, Quentin Tarantino's film is like a group of intellectuals in suits killing in a very reasonable way, it is Zhi Yuhe's film, what you see is always home, the shadow of home everywhere, the charm and helplessness of home. While watching Wong Kar-wai movies, like someone reading a poem to me in my ear, I can hear the kind of kindness that Takeshi Kaneshiro and Lin Qingxia still have their own accents when giving narrations. this is what can be found in the rhythm of the poem.
I forget where I heard such a saying: Haruki Murakami was inspired to create "the Forest of Norway" after listening to the Beatles'"Norwegian Wood", while Wu Bai and Wong Kar-wai sang and derived their own "Forest" after reading Murakami's books. Wu Bai's "Norwegian Forest" is still a classic, and Wong Kar-wai put the lonely forest in Hong Kong. With its own unique film and television style, it has become an unavoidable name in the Chinese film industry. Regardless of the truth of this statement, friends who know these works will find that all the creators are talking about loneliness, but this loneliness is a charming beauty. And the movies are all about lonely people singing love songs.
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the first half of the film is like this poster, the cramped space makes it difficult to breathe, and the crowded streets are written in a hurry, which is very similar to the sense of haste in life. At the moment, life is as fleeting as time, and even I can only talk to myself. The rhythm of the first half of the film is pushed forward by constantly appearing dates, and as a viewer, I have jumped out several times. It is also an unknown time to find that I have been rushed forward. But in this helpless haste, all the characters can do, either be silent, or talk to themselves, we have nothing but loneliness.
"from this minute on, the first woman to come in, I will like her!"
I admit that I smiled when Takeshi Kaneshiro said this sentence, but I didn't mean to ridicule anything. I think when the film paused at that moment and then pushed away from that time, except for Takeshi Kaneshiro who said this sentence, I don't think anyone will believe that this is a credible child (wang) (xiang), right?
I don't know if I have been away from love for too long. This kind of love, which is lovely, interesting, and accompanied by silence, is hard to see in the society marching toward speed. Dating shows have become stylized behavior. So much so that they become strangers to true love, and strangers want to cry. Or, the appearance of love will never change, what will change is only us and our vision.
"I've wanted to scold you for a long time, but you've changed. Do you know that a man must have a character? Even if she really doesn't come back, don't change yourself, reflect on yourself!
when I look at it crying, I am very happy, because its appearance seems to have changed, but its essence has not changed, it is still an emotional towel. "
Tony Leung's character doesn't even have a name in that society, and the code name for 663 is him. He came home in the evening and said to Faye Wong's updated soap, "Don't give yourself up. I saw you were fine a while ago. Why are you so fat all of a sudden?" Although she is not here, you still have to meet people, stop indulging yourself and lose weight!
seeing here, I find a feature of Wong Kar-wai's film: on the surface, the character in the play makes confession lines to a specific object, but it also seems that the character is giving gentle comfort and encouragement to himself in front of the object, and it seems that there is another layer in which the character comforts us, lonely and fragile, in front of the screen through the confession of the lines in the word book. A line is like being spoken to three objects, which is a wonderful experience that has never been experienced in other directors' films.
Faye Wong gave the character Ah Fei the soul, and Quentin even thought that without her clever dance under California Dream Music, the film would not have been watched by so many people. Of course, that dance was really fascinating.
what are people in a daze thinking, and what are you thinking right now?
compared with other films, why does Chongqing Forest give people an inexplicably lengthy feeling in the same nearly two hours? The film was originally set to have three clips, but when the film was released, there were only two stories seen today. Wong Kar-wai independently filmed the third clip into "fallen Angels." What I want to talk about is whether it is because I am in such a hurry that I am always eager to see something happen in this era, want to see some great change to bring visual impact and separation from my own life, and when the whole story is calm, just the director is diligently telling the story, it is this sincerity that makes me have aesthetic fatigue, I should reflect. After watching Carol for a while, I decided that it would be thankless for such a film to be put in the Chinese market, not to mention the scale, but only the director's slow, real storytelling craziness. I don't think many Chinese art creators can do it.
Let's just look at each other quietly and have some bored daydreams.
there is a scene in the film (I can't find a screenshot of that shot). Tony Leung is talking to the shopkeeper through the glass door. Faye Wong is cleaning the glass door-- she is repeatedly reflecting the part of Tony Leung-- it is a metaphor for a desire for contact, but through a transparent, cold glass; Just as the development of media technology has gradually eliminated the depth and distance of space, but the uncommunicable separation between people.But the estrangement is getting thicker and thicker. The same is true of me now. If I steal a wooden heart, I always want to talk about something, and I feel that I have nothing to say!
the killer is a little aloof
Quentin said that putting blond hair on Lin Qingxia has two meanings: one is to shape the Chinese version of Greta Garbo, her curly hair and sunglasses are all to hide her own personality, and the second is the image of a female killer played by Genna Rowlands in the movie Gloria. This is Wong Kar-wai's favorite film, from which he has been influenced a lot. The style of Wong Kar-wai's film is very similar to that of Godal in France. If you like Wong Kar-wai, I believe you will also like Godal.
the sadness of the characters in the Forest is mixed with the sweetness of self-pity and narcissism, and if someone hadn't frozen it with a magnifying glass and truly presented it to me, otherwise I would never have seen it in my disordered life. Daphne, who wrote the Dream of floating Life, thinks that people look for shadows related to themselves in their memories. Later, when talking about the film, Wong Kar-wai said: at that time, I had a feeling that many times we were too fast as human beings. You didn't notice that there were actually very important things around you, but you didn't notice. In the movie, we play a lot of things related to speed, you will stretch a second very long, or pull a centimeter very close, or very far, in fact, the story is about this. So I think one of the reasons why movies exist is to let us see the neglected part of life.
finally, I quote Su Songmei's views on this film as a conclusion: in Wong Kar-wai's film, there is no salvation, but a kind of comfort. In the plane, the present, the scattered state, the questioning deeper than the distance is empty, then be satisfied with a plane, present, scattered comfort; At the end of the story, Lin Qingxia said Happy Birthday to Takeshi Kaneshiro. Faye Wong signed another boarding ticket for Liang Chaowei. The two stories of the film did not end, but the audience found something to make life clinging to in the post-modern state: the comfort of tenderness.