"If you had one more ticket, would you come with me?"
The sensuality of "Fancy Years" comes from the "sense of proportion" it captures. It comes from the elegance and courtesy contained in looking at each other, nodding, sideways, and rubbing shoulders again and again in cramped corridors and alleys.
The relationship between Mr. Zhou and Mrs. Chen begins with fantasy and ends at fantasy, which determines the fragility of feelings. The duo carefully guard the secret in the crowd and noise, and the frequent obstructions in the camera also suggest that the audience is spying on privacy.
Wong Kar-wai seems to have borrowed from René's "Last Year in Marionbad" to repeat the blurred time, and the detachment from this state makes the film have a tragic color. Unmet desire is sexy, nostalgia that has to be stopped is sadness.
There is always a glimmer of measure between Wong Kar-wai and the Hong Kong he remembers.
The dim and narrow stairwells, the noisy shared houses, and the same betrayers linked them together. They had feelings, and in such a cramped and depraved space, they huddled in Su Lizhen's room and conceived martial arts novels with respect. Sure enough, a high-quality relationship must be spiritually recognized, otherwise it will not be called love, but barely carnal desire.
This is Chinese, no matter how turbulent the heart is, the surface must be calm, to keep face, to abide by the rules and regulations of the social morality, even if the two are innocent. So beautiful, Maggie Cheung turned around again and again, walked, answered the phone, and always stood dressed in a dignified and dignified manner.
I looked into Liang Chaowei's eyes all the time, he was able to "see people in", and the angle of every inch of skin shaking and pulling when he performed was so in place and accurate. Zhou Muyun is a good person, he is loyal, sober, keeping just a good distance, this temperament does not know whether it comes from Zhou or Liang, in short, it will make life a great desire for exploration.
They are partners in another sense, not unnamed stealing.
A beautiful movie, the actors, the composition, the colors are all there. The deeper impression is the prism, this film uses more mirror elements, will feel that entering a more ethereal, beautiful but easy to break, between the virtual and the real of the heterogeneous space. There's also a lot of slow motion in it, and the music is great.
There are also many ways to avoid mrs. Zhou's appearance of Mr. Chen, and their presentation is really unnecessary. In terms of the play, there are several places that think that they are really separated, but in fact, it is only a separate rehearsal of the two people in advance. The story near the end is so fragmented that it may have been something that needs to be strung together by yourself. Hi, "We won't be like them" is deceiving ourselves and wasting our fancy years.
There are several points in this part where I canonize the gods: Liang Chaowei's eyes and smile are very deceitful; Maggie Cheung's gentleness and femininity are full of charm when walking under various qipao styles. Finally, the details of various actions can be watched and experienced frame by frame. Wong Kar-wai's stream of consciousness is not something that can be understood and eaten thoroughly at once, and the feeling of watching it several times is different each time.
Now that there are more fast food movies, it is especially enjoyable to watch this kind of slow-paced, charming Hong Kong-style movie!
Meet once, stop at each other. "A lot of things start unconsciously" imitated and imitated, so I also moved my heart, a little more time and topic together, a little more the same encounters and situations, a little more the same hobbies and attempts, so I also moved my heart.
Just a little bit of looking very angry, women are always the victims of the outside world gossip, you have seen Miss Chen have a discussion about Mr. He traveling between Mrs. He and Miss Yu, the unknown full picture was educated by Mrs. Sun. For emotional matters, it seems to be too tolerant of men, at least in this film.
Miss Chen's ferry ticket is better to keep it herself, and regret and missing are more weighty.
The parts of the space are highlighted in shallow depth-of-field close-ups, and then a sense of staggered rhythm is generated in the montage, and the vitality of the image is still mainly based on editing, but the mechanism of action is diametrically opposed to previous works.
Similarly, the shots and plays are firmly controlled by intense formalism, without the sense of improvisation of the first three works, the actors' agency and natural chemistry are suppressed, and instead the precise cinematic language is used to build eye, body, and emotional bridges between the characters.
The ending is almost zero points, and the narrative tricks and omissions in the previous part are so precise, how to reach the most critical moment will not be left blank, I don't quite understand.
If the ambiguity of the immediate separation is intoxicating, but love is restrained and absolutely realistic, the best ending is to be able to occasionally remember this fancy time after many years. All the light and shadow mysteries remain in the memory, telling the secret to the tree hole, not using marriage to kidnap love, but love is really fascinating, remembering us again and again.
The most important thing for soul mates is to miss out on no further intimate behavior, and then each of them will miss it for a long time.
Thank you for watching, paying attention to me, and taking you to learn more entertainment stories!