The most impressive is the trilogy of the sixties. As the first song, "A Fei's True Story", which truly shows all the styles of Wong Kar-wai, is my beloved from beginning to end. Recently, I re-watched this set of the best film at the box office of the year. After the baptism of more sets of Wong Kar-wai's works and the accumulation of deeper viewing experience, it seems that this rewatch has brought a new experience that is different from the past.
For me, who aspires to be a screenwriter and value the screenwriter part of a movie, why would I be reluctant to let go of the multiple works of Wong Kar-wai whose plot is not worthwhile, and I would not feel bored or criticized after re-watching it many times. How about showing off the performance style? This is a question that I have been puzzled by.
In the past, I only thought that Wong Kar-wai was a person who had a superb playful atmosphere or sentiment. I also regarded this lingering atmosphere as the only reason why I love Wong Kar-wai movies. However, someone once said that if Wong Kar-wai disappeared from Zhang Shuping, who is also the beauty finger and editor, and the photographer Du Kefeng, it would be nothing. Of course, this statement is a bit general. However, for Wang Kar-wai, who thinks that the atmosphere is only condensed, I really can’t make a strong argument to refute this statement, because the so-called movie atmosphere is indeed largely derived from the costumes and scenes. And the art director of the props, the scheduling of the movie's mirror and the editing rhythm.
However, this time rewatching "The True Story of A Fei" finally gave me an idea of another trait of Wong Kar Wai. To put it bluntly, it is not a novel view, but it is Wong Kar-wai's ability to shape movie characters that I have always overlooked. We just need to close our eyes and think about it. For Wong Kar Wai's movie, what we think of at the first time will never be any special plot, but the different characters in the movie. Maybe we have different preferences for the characters in the play, but it cannot be denied that even some of the characters in Wong Kar Wai’s films are memorable for us. The best example is when Yu Afei appears at the end of the film. Zhou Muyun without a line of dialogue(?). Based on the author’s short acting age and cognition, I have not yet been able to analyze what kind of magic Wong Kar-wai casts on the character, which makes it full of indescribable charm. I can only point out that Wong Kar-wai’s dream atmosphere of withdrawal is very important for performance. Such dramatic characters are of special significance. Most of the general movies create movies with highly realistic humanized characters facing dramatic plots, so that the audience can project themselves into the characters and face the problems together with them. However, Wong Kar-wai went the other way, creating simple stories with distorted but charming idolized characters. This subversive setting attracts the audience not to engage the audience in the role, but in turn allows the characters in the play to lead the audience and even attract the audience to imitate the thoughts and behaviors of the characters in the play.
In this way, we understand why Wong Kar-wai’s movies always bring many awards to the actors, and why the costumes of the characters in Wong Kar-wai’s movies have become popular indicators; even I suddenly understand why the monologues or dialogues in Wong Kar-wai’s movies are not well written. People feel unique, and the reason cannot be simpler. It is because these words come from the mouths of these "idols" (the "idols" mentioned here do not refer to movie stars, but the characters in the play. In other words, the so-called "idols" "It's not Tony Leung but Zhou Muyun). In the final analysis, Wong Kar-wai idolized the characters through movies, making the characters attractive and attractive, and fans who are fans naturally have to follow in their footsteps irrationally.
I finally understand Wong Kar-wai’s ability to look after other than Zhang Shuping and Du Kefeng, and finally understand why his movies are so endearing, but as a fan, I can once again slowly savor the "expression" and depth of "idols". A charming and dramatic worldview. This unique "idol" character turns out to be more memorable than the rich and compact plot.
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