Wong Kar-Wai's 2046: A Film by Wong Kar-Wai
Just got back from a screening of 2046. It's a piece of work, no doubt, but let's not get crazy. I was very enthusiastic about the first hour or so, when it acted on all the things In the Mood for Love never did - the emotions, the lust, the passion (albeit fleeting and sometime shallow) - and that was a big relief. Tony Leung is a cool cat, and Zhang Ziyi only confirms (again) what a formidable presence she is. She couldn't save House of Flying Daggers, but then who could? Anyway, I stick to my guns, she is a carnal actress if I ever saw one. And the Leung-Ziyi part of 2046 is by far the most impressive in all the areas where WKW regularly excels: the set design, the costumes, Doyle's camerawork. The acting is also top-notch.
However, I can't help thinking that the long-spanning production of the film (over five years in the making, and WKW fans still argue about what, if anything, WKW had to trim to get the film ready for the 04 festival circuit - it was originally supposed to be done for the 03 one) made WKW lose focus somewhat. The last act or so - the Singapore/casino part - is decidedly weaker than the others, and it feels like lots and lots have been shot, edited, twisted around, and ultimately left on the cutting room floor. Hints of characters, plots, moods and settings pop up all the time, but many are left untouched, merely brushed upon.
pro-
posted by Martin Degrell @ 4:14 PM
2 comments
2 Comments:
not trying to start an argument or anything... but does it really derail from WKW's usual "unfocused" style? I thought Chunking Express "suffered" from teh same syndroma, yet it's not detrimental to the overall atmospherical poetry. Hou Hsiao-hsien seems to explore the same "I don't give a fuck about continuous narration and character establishment" path. It's disturbing/distracting at first, but once we've set ourselves free from conditionned conventions, we're up for a totally different trip in the realm of cinema. An adventurous path only explored by experimental filmmakers before.
The cinematography is indeed a lesson of cinema for every film student or even veteran cinematographers!
Also it's funny how every viewer has a different favorite couple in the film. Personaly I prefered Gong Li ;)
Of course, that's always a factor with WKW, but I thought it was more evident here than in In the Mood for Love or any of his other films; maybe it caught my attention cause I knew about the long production. In any case, it's a risky business making films like he does, and it's a wonder that he's able to.
Post a Comment
<< Home