"If there is one more ticket,
Will you come with me?"
This classic line comes from Wong Kar-wai's film "Fancy Years".
The answer to this sentence has a unique answer in each love.
For Zhou Muyun and Su Lizhen in the movie, the black-time subtitles at the beginning of the film seem to have explained the answer to his and her ending.
<h1>one</h1>
In the movie, there are many scenes of Su Lizhen and Zhou Muyun meeting in the stairwell: in this narrow and dim staircase, Su Lizhen slowly ascends from the bottom up alone, Zhou Muyun slowly descends from top to bottom, she keeps her head down until she looks up and sees him, her eyes are hot and flickering, and in a moment of stay, the two pass by, as if passing by.
In the dim and confusing social atmosphere of the film, the 1960s in Hong Kong are like passers-by in time and space, and Zhou Muyun and Su Lizhen are precisely the passers-by of Hong Kong in the 1960s.
The frequency of encounters in the stairwells is becoming more frequent, a metaphor for the loneliness and loneliness of their respective spouses who have not been at home for a long time.
This loneliness is a product of Hong Kong in the 1960s, and the characters of Su Lizhen's boss, Mrs. Chow and Mr. Chen in the film are just symbols of the same people in Hong Kong in the 1960s.
They could have no face, they could have no name, they represented the loneliness of that era and the chaos caused by social pressures.
The film deliberately arranges two people to walk alone in the dark and narrow staircase, reflecting that these two people are members of that era, but they are different from the people in that era.
<h1>
two
</h1>
In "Fancy Years", the most obvious is the musical melody that runs through the whole process, which calls out the theme of the film's connotation.
This piece of music is contradictory, first a brisk sense of rhythm, followed by a low cello music, the two melodies are entangled and collided, just like the state of mind of Zhou Muyun and Su Lizhen, who have feelings for each other and like each other, but have always been hindered by the shackles of traditional ethics and morality, and have been doing inner torment and struggle.
The music repeated, when the two passed each other, in the hotel room, when Su Lizhen was crying on Zhou Muyun's shoulder, the melody was gentle and sad, making the best footnote for the emotional relationship between the two people.
<h1>three</h1>
The most beautiful place in the film is Su Lizhen's 26 sets of qipao.
The variety of qipao and Su Lizhen's graceful figure perfectly interpret the subtle and timeless charm of oriental women.
Of course, the qipao in the film is not just a superficial costume show, but the director hides the connotation in the flow of the qipao.
Not only through the change of Su Lizhen's qipao, the passage of time plays a narrative role, but also through the change of color to show the change of Su Lizhen's state of mind, which can be described as well-intentioned.
<h1>END</h1>
This "passionate, reason-stopping" love story, which ends with two people going their separate ways and constantly missing out, is undoubtedly romantic, but it is also cryptic and depressing.
At the end of the film, Zhou Muyun goes to the Mogao Caves, where he tells his heart to the tree cave and also buries his love in the ruins. His story with Su Lizhen ends here.
Although there are regrets, looking back on the obscure years, the emotions in my heart are still surging and gentle as ever. "Just like the blue smoke that Zhou Muyun spat out, it was indistinct and dissipated."
"Later, I actually went to Angkor Wat and didn't find a tree cave where I could tell my secrets. The hot and humid air there made my mind chaotic and impetuous, and the laughing tourists seemed to laugh at my naivety. When I was ready to leave, I learned that the so-called tree hole was actually in everyone's heart, but I would never find anything to seal it.
——NetEase Cloud Hot Review"
Text: Li Weizhi
Figure: Network (Intrusion and Deletion)
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