Recently, "Flowers" exploded, and many people are discussing Wong Kar-wai, some people say that he is still old, and Jiang Lang is the end.
But I think that Wong Kar-wai still maintains his usual level in the field he is good at, especially after watching "In the Mood for Love" again, I think that in the field of filming [Middle-aged Woman], few people can shoot Wong Kar-wai.
Yes, middle-aged women. In "Flowers", whether it is Miss Wang, Lingzi, or Li Li, they all have their own desires, those mixed with the world's feelings, very complex desires, and desires to talk.
As for "In the Mood for Love", Wong Kar-wai still grasps the ethereal desire in middle-aged marriage.
Although the whole "In the Mood for Love", there is not even a real bed scene.
But there is no doubt that this movie is the most lustful and sexiest movie I have ever seen, very classical, oriental sexy.
Of course, as early as 10 years ago, when I was only in my 20s, I couldn't understand this movie, and when I watched "In the Mood for Love", I felt that the director was very ink, and even a little hypocritical and contrived.
Now, when she finally becomes a middle-aged woman like Maggie Cheung in the movie, she really knows how to appreciate this movie.
This movie has no plot, a bit similar to "The Dream of the Covered Bridge", it can be made clear in one sentence that the middle-aged men and women who encountered a marriage crisis did not break through the worldly confinement in the end, and forcibly extinguished the flame of love.
But I think "In the Mood for Love" is more feeling, because it is more in line with oriental aesthetics, and it also understands the loneliness of Chinese women in marriage.
The love in "Dream of the Covered Bridge" is too surging, and they have never tried to hide it, love is love, and they can't get it but admit it.
But everything in "In the Mood for Love" is covered, and the desire to talk is still closed, so many shots in this movie are also semi-covered, borrowing a lot of buildings similar to windows, doors, street lamps and other buildings as shields, and the people the audience sees are all filmful.
I always feel that "In the Mood for Love" is like the [Suzhou Garden] in the film industry, you think you see something, but in fact, there are more things in it that you can't see.
"In the Mood for Love" is filmed under pressure, but it is not so solid, everything is like a pot of boiling water with a lid, something is constantly bubbling up, and the lid is jingling, as if it is about to be overturned, and you can see what the pot looks like, but no one has taken off the lid.
So those desires brewed vigorously in a place where no one was looking, until at last they quietly returned to peace.
"Still hugging the pipa and half-covering his face", this is the most desirable part of this movie.
It's boring when it comes to the climax, and the most frustrating thing is that you know that something is about to happen.
is like Su Lizhen played by Maggie Cheung and Zhou Muyun played by Tony Leung.
Everyone can see that something will happen to them, but the movie has to be filmed under pressure, that is, let the audience keep peeping and waiting.
There is no need to ask that classic question, because the answer must be loved.
Even, it's not as simple as having loved each other, but between Su Lizhen and Zhou Muyun, they have always had a good impression of each other.
The first cheating of the partners of both parties (Maggie Cheung's husband cheated on Zhou Muyun's wife in the movie) is just a step that gives Zhou Muyun the opportunity to go to Su Lizhen.
When I revisited it this time, I noticed a detail, that is, Zhou Muyun actually noticed Su Lizhen very early, because his colleagues and he had work contacts with Su Lizhen before, and when Zhou Muyun's colleagues showed a good impression of Su Lizhen, Zhou Muyun said that they already had husbands.
Deep down, he was unhappy in his marriage, and he had long noticed her loneliness.
It's just that morality and responsibility make him stop.
Until they were both betrayed, they had an excuse and tried to get out of the barrier of marriage. But in the end, they are all people who have requirements for themselves, so Su Lizhen and Zhou Muyun are pushed by desire while frantically restraining their desires.
They often imitate their respective partners, saying that they want to find out the reason for each other's cheating.
I believed it when I read it for the first time, and when I watched it later, I just smiled, it was just Su Lizhen and Zhou Muyun making excuses for themselves, only in this way could they dare and release their desires.
In acting, they give their desires an outlet.
They have really suppressed themselves for too long, and even when they say goodbye at the end, they have to use the method of "play it and try it out".
Only in "acting" can they have the opportunity to admit that they are in love with each other, and once they return to real life, they can only refrain from it, escape, and entangle.
I will always remember Maggie Cheung's demeanor under the street lamp, constantly rubbing her arm.
It's really lonely.
I was once 20 years old and had never been married, how could I understand this kind of loneliness.
But now I understand.
No matter how happy a marriage is, there must be times when you are lonely, and if you have not been loved or treated seriously, that loneliness may be even more turbulent.
I understand Su Lizhen's mood of insisting on going downstairs to buy a bowl of noodles by herself no matter what, because she needs a moment to withdraw from her marriage and slowly pour out her loneliness.
It's like some people who have to spend a little time in the car when they get home.
Just like some people who don't want to go to the toilet, but like to sit on the toilet for more than half an hour every day.
Because at that time, we were the least lonely.
Later, I kept wondering what made adult men and women more and more lonely, and the number of people living in the house began to increase, and the noise and laughter of the children were almost noisy.
So I took it for granted that the blame was on the marriage.
Later, I realized that it was because men and women always had desires for food, but when we were young, the world was big, and we didn't put any shackles on ourselves, so all desires can be satisfied, go and see, no one will say anything about the ambition of young people.
People are different when they reach middle age, desire is almost equivalent to "dirty", it is best for everyone to live like a vat of clean water, but desire is nature, how can it really be said that there is no none, so it is strange not to be lonely.
didn't say what it meant to have an extramarital affair, Maggie Cheung in "In the Mood for Love" was also a victim of an extramarital affair, but wanted to say that many things, if you give those small, inconsequential desires some outlets, will there be no more crazy revenge later, or break the embankment.
Respect for responsibility, but also respect for desire.
Don't ever regret it until the end, how you ended up living yourself as the loneliest middle-aged woman.