In the past few days, Jacky Cheung's "Stealing Hearts" has become popular overnight, and when I read the comments, it was all because of "Flowers".
This song is the background music of Ah Bao (played by Hu Ge) and Wang Mingzhu (played by Tang Yan) when CP collapsed.
Sedum x Zixuan is a direction I didn't think about, but when the emotional line after the 14th episode of the series is pulled to the surface, the stamina also comes up.
Wong Kar-wai, 65, is still good at catching subtle throbbing.
In 1997, he ate sugar in "Happy Spring".
27 years later, on the set of "Flowers", the same smile was "worthless".
Many people say that Po is a scumbag, and he has failed every female character in the play.
But to say this, it is obviously too much to overestimate Wong Kar-wai's morality:
The backbone plot of "In the Mood for Love" is the cheating of two husbands and wives, Faye Wong trespasses into private houses every day in "Chongqing Forest", Xu Zai in "The True Story of A Fei" is extremely in love with his mother and steps on two boats, even a great and upright character like Ip Man can make up flowery intestines, and the family has a wife, and the relationship is always thin.
On Chinese New Year's Eve, he took a button to flirt with Gong Er.
Mr. Bao may not be "scum", but looking at him and the women in the play based on this word alone is actually too one-sided.
There are several emotional lines in "Flowers", and there are more than enough to talk about.
Since his debut film "Mong Kok Carmen", Wong Kar-wai has been obsessed with portraying the same kind of men:
It integrates the charm of the world, but it can't give commitment and certainty.
In "The True Story of A Fei", this personality is interpreted as a "footless bird", and he can only be on the move forever, without a moment of attention.
It's a little better to go to Zhou Muyun, he at least gave the classic ticket question.
But this relationship finally succumbed to fate and became one of the many secrets buried in history.
On the basis of this general direction, Ah Bao could not have been the one that met our expectations of male virtue from the beginning.
However, Wong Kar-wai at least abandoned the cowardice and cowardice that the male protagonist was used to before, and gave Mr. Bao some new personality advantages:
In essence, he is actually a man with affection and righteousness.
Don't underestimate the word "affection", it is not easy for ordinary people, let alone in a bloody business.
In the power trading field, the relationship between Po and these ladies is science fiction.
Because he is keen to play with the grace of dripping water and reciprocating with springs.
Yu Li Li, when someone gave him a piece of business information, he would turn the tide and send her to the throne of the first sister on the Yellow River Road when Li Li's hotel was surrounded and suppressed by a group of locals.
In addition to returning favors, he also has justice in the business field not to bully outsiders.
He gave Li Li, who had experienced vicissitudes and coldness, a rare warmth.
Yu Lingzi, a Japanese hotel waiter, only briefly guided him in a foreign country and sent him a lucky charm, and he did, so he sent her back to China to be the proprietress directly.
The hotel "Night Tokyo" is a big dream of spring and autumn that Reiko and his stranger casually talked about. But he not only wrote it down, but also made it happen.
The longer Reiko stays in the dark night of the hotel, the more terrible it is to meet this kind of romantic and practical man.
Besides, Mr. Bao spoils her very much.
She laughed at her disguised wool, turned a blind eye and took out money, and he never refused anyone she let him see in order to earn money.
The essence of pets is specialization.
Mr. Bao always does not shy away from being special to her in public.
In "2046", Bai Ling loves Zhou Muyun, and what he wants is this kind of specialness. Zhou Muyun didn't give it to Bai Ling, and Ah Bao gave it to Lingzi.
If you have to compare, it is better to have your own pet for every woman, than Xu Zai to play with women indiscriminately except for his own mother.
Yu Wang Mingzhu, acquaintance in Weishi. Wang Mingzhu helped him win the target to achieve business, and he used his strong business share to feed Miss Wang's KPI achievement rate in one bite to help her become the section chief of her dreams.
He gave real money and power, as well as a golden bell jar.
He doesn't allow anyone to bully Miss Wang, she can earn less money and don't want her face, but her position is my position.
But because of this, a man like him is more dangerous than a scumbag in love.
He is Ai Reiko.
Reiko is his pier, after the glamorous liquor bureau, whether he is in Tokyo or Shanghai, handing over a cup of hot water and a bowl of rice, it will always be her.
When she announced her break, his loneliness was palpable.
He loves Wang Mingzhu even more.
I can't bear to respond to his show of love, but I think of my first love in despair.
If you insist on talking about scumbags and not, you have to first divide "motivation" and "result".
Does Bao always have a scumbag motive? I don't think so. He may have similar narcissism as Xu Zai, but he can't be as ruthless and resolute after all.
Mr. Bao can't wait to engrave the word love and meaning in the signature of the circle of friends, so that he can't do anything that doesn't cherish feathers.
And in terms of results, is he scum again?
In Wong Kar-wai's case, this is actually a problem that is not very valid.
His male and female protagonists often do not blame the other party for their regrets, but always explain it as fate and "did not meet at the right time".
Interpreting "Flowers", the proper perspective is also not to give the characters black and white.
It's about seeing what kind of choice he made under fate.
There are countless kinds of love, and the danger is that having love does not mean that you have to give love, and if you can't give it, it will hurt people even more.
Why can't it be given? because qualifier: now.
Some people say that Mr. Bao, because he is a phoenix man, has seized the opportunity to turn over, and in the rising period of his career, all he thinks about is to get ahead, and love will always be second or even without a seat.
For the other half, he is indeed burying his head in the desperate struggle to earn fame and fortune.
Rich and noble families are in love, such as Mr. Wei, who is obsessed with Miss Wang.
But the barefoot Po has seen the sharp knife of his first love, tasted the taste of his dignity being trampled, and he is extremely eager for success.
So you will find that he is not affectionate to women, he is revenge on all those who pushed him on the road to success.
The more he cherishes the scarcity of the opportunity to turn over the salted fish, the more affectionate he is for the old man. Getting ahead is the source of his kindness. It's just that why does he make money, but he still can't stop for love?
Because the goal of turning over is not money, but to make up for the lack of heart, it is a bottomless pit, and there will never be a day of satisfaction.
This is indeed something to be wary of people like Mr. Bao, he is not a prodigal son in love, but a believer in Vanity Fair, and he will always be lost in it.
There is a sentence in "Stealing Hearts", which accurately cuts to the reason for the pain after Mr. Bao took the initiative to lose Wang Mingzhu: I can't see myself clearly.
He wants Wang Mingzhu, but also fame and fortune. But what does he want such a huge amount of fame and fortune for? He himself can't answer.
The essence is that the confusion brought about by the sense of lack is one of the roots of his powerlessness.
Self-interest is greater than love for others, isn't it scum?
Indeed, at first glance, Lingzi is still Wang Mingzhu, and Bao is not as brave as half of them who are crazy about love.
Reiko, her original family cared very little for her, and even had to suck blood. It should be the most insecure and the most transparent view of the interests between people. But when Mr. Bao's life and death in the car accident were uncertain, he paid off his debts, and as long as Bao was there, he could live a lifetime in a dripping house.
Wang Mingzhu, a well-protected little girl since childhood, dared to drive alone to save him, and it was worth dying; obviously in order to become a section chief like the master, he also worked hard step by step for many years, but he was willing to give up everything to sell tea eggs for him.
But Bao can't, and don't. Because of this kind of stupidity, he has also had it. But after his bravery was slashed by his first love, you can't ask a person to be wounded without a scar and resurrected with full blood.
First love sarcastically mocked him ten years later and was still as poor
He seems to have been resurrected, but half of his blood is left, and the other half is mixed with water, and he has long been powerless in love.
So it's not that Bao is always a scumbag, and it's not that men are more ruthless to love than women.
It's just that there is a time lag between them and the stage where he values love and righteousness, and the order of appearance is very important, that is, "the timing is not right, everything is empty", which is also the eternal theme of Wong Kar-wai's films.
To put it bluntly, his experience made him mentally wilted in love, as incurable as the physical atrophy.
Mr. Bao's lack and scars finally made him always avoid in love, and never "sound".
Falling in love with someone whose self-mutilation is mending cannot be simply attributed to whose fault it is, and no one is wrong may be the biggest pain in a broken relationship.
There are good endings in love, but luck is good. No, next trip.
Fortunately, the more progressive part of "Flowers" is not the iteration of "Zhou Muyun" character, but the awakening of "Su Lizhen's" reason.
The temperament of the woman who collapsed after the cruel words in "In the Mood for Love" is, after all, the fragility of staying in the last century and wrapped in a tight-fitting cheongsam.
Now, in the same emotional situation, they all have their own initiative.
Needless to say, Li Li was both bold and strategic as soon as he appeared, and he should not be underestimated just because he could survive and grow in the encirclement and suppression of his peers.
At night, Reiko, the proprietress of Tokyo, has seen all kinds of men in a foreign Japanese hotel, shrewd and social, and has both business acumen.
Even Wang Mingzhu, who seems to be a reckless foreign trade unit, has naturally seen temptation even though he has not weathered the wind and rain and has indicators in his hands.
It's not that they haven't seen the ladies on the market, and the later plot also confirmed that in fact, they all have abilities.
Lingzi and Wang Mingzhu, time only returned a red heart mixed with water, and they became the second and third treasures.
And becoming a treasure president is not necessarily a bad thing.
Most of the beauties who meet heroes can't escape grievances.
After all, the first half of the emotional line of "Flowers" is not new, and it is only the sentence that Faye Wong sang to Xiao Feng in the center of "Dragon Babu" 20 years ago:
"You give me protection, I give you your blessing, you are a hero, you need ambition. But you owe me happiness, what can you make up for?"
In the past, women gained life exploration through men, and when they were protected, they were supported and helped to be stronger, but if they couldn't be matched to win a good ending, there would be no second possibility in life.
As long as he leaves, the man has the consequences of substantial scum no matter what.
But as we all know, Wong Kar-wai loves women.
"Some like looks, some like walking postures, some have personalities, and every girl has something to make them cute. Therefore, the women in his images have their own unique beauty.
Only by not simply treating Ah Bao as a scumbag, so as not to underestimate the female characters in the play, can we truly respect him.
These three female characters are annoying and cute, but there is no doubt that they are not only themselves, but also represent the beauty of the female group portraits of that era, and these have been carefully excavated by Wong Kar-wai.
He believes that the reason why women in that era were vigorous was because they had confidence, and this confidence was given by them as the first batch of economically independent women in the new era in the country.
So, love can be just a sequins on the life suit, charming and eye-catching, for adults in reality, no matter how indulgent, when love becomes love, everything is just a scoop of water in the ocean of life.
Even sulfuric acid is not fatal.
Life can be done by their men, or even by themselves.
Reiko is what he calls a vivid and powerful group of Shanghai proprietress women.
After Reiko no longer has the imagination of Mr. Bao, her wisdom, mind and execution are all shining. She can be inseparable from Mr. Bao's affection, sticky for many years, but if you want to cut off the love thread, you have to be clean. Let Mr. Bao withdraw his shares, renovate and re-do the characteristic hotel.
Her determination hides strength.
When she dreamed of being a boss lady on the streets of Japan, her eyes were full of ambition.
It's just that when Mr. Bao covered her, her eyes were foggy, and with her half-entrusted mentality, she felt that it was okay to be the rear of a man's war.
Now she is in a circle of love, and she has truly become the independent boss lady who does not rely on anyone she expected back then.
And Wang Mingzhu, in the original book, her life goal is to have children, and Wong Kar-wai also changed her to a new era woman who explores herself through entrepreneurship after her life is enlightened.
Miss Wang's character has the largest growth span, and she was noisy and annoying at first, but when she found out that Mr. Bao couldn't give love no matter how much she was favored, and Vanity Fair actually stammered not her but the platform, her life cognition iterated.
Especially when she has no platform to support her, others look down on her and trick her, after Mr. Bao slapped her for this, Wang Mingzhu's eyes, who originally just wanted to be a section chief, also showed ambition.
: She has to be dignified, and with dignity can she love people.
She cried and rushed over to hug Mr. Bao, just like when she thought he had been killed and went crazy to save him, exactly the same.
But when Mr. Bao caught her like he did back then and wanted to reach out and hug her, she shouted "I'm sorry" and immediately ran away.
back then
now
She still loves him as she did back then.
But she's different.
They're all different.
The women became what he came to be, and they left him en masse, all of them ambitious and began to pursue careers.
It's not a simple career brain, and it's not a shallow revenge.
Career is only a means, and realizing the value of life is the core life needs of both men and women.
One of my favorite female characters of Wong Kar-wai is the third sister of the Golden Mansion played by Zhou Xiaofei in "The Grandmaster".
In the film, she is called Liaokou sister-in-law, but she is actually from Fengyue Field.
However, she obviously survives by pleasing men, but the third sister has no superstition about men at all.
Without saying anything, she stabbed under Ip Man's crotch, her palms were as sharp as knives, and she was about to destroy your sexual characteristics.
Ip Man asked with a smile, why do you need to "demolish the ancestral hall"?
The third sister replied with a smile: The ancestral hall has been demolished countless times, and there is nothing unusual.
This is perhaps one of the most evolved women in Wong Kar-wai's films, and a real role model.
: It's not that everyone has to learn from monkeys to steal peaches.
I mean, in the end, women can escape from the victim's perspective and in turn give others a little bit of color and deterrence.
In the final analysis, the male protagonist in "Flowers" is not the master, but the flowers are the master.
A hundred flowers pass through it, and the half leaf does not touch the body, not only men, but also women.
Fortunately, life is more than love, but the reason why its emotional line touches your heart is that you and I know that regret is regret, and it cannot be made up without beautification.
In the four seasons of life, fame and fortune will always be withdrawn.
When the midnight dream goes back to old age and comes to a trance, the infatuated man and the woman will reappear in the dream. The stolen heart is only occasionally reminded by the falling stones, and poof: it's still a bottomless pit.
only to find out, oh, it turns out that money can't make up for all the scarcity, and the pure love of youth may also be blindly luxurious.
But the time has passed, and the regret is long-lasting.
Fortunately, the past of the infatuated man and the woman is a scenery of life after all, which is beautiful and good.
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