"The True Story of A Fei" is the second film directed by Wong Kar-wai, but it has already clearly demonstrated that it has been attracting attention since then Wong Kar Wai style. Broken lens language, silent air, interspersed monologues affect the plot-indeed, as some film critics have said, Wong Kar-wai "does" the film too much. But this kind of "doing" has some different things, that is, Wang Jiawei's self, narcissism and self-enclosure, while exuding a charming temperament of decadence and sadness.
"The True Story of A Fei" became a classic, not because it was "innocent" as a friend wrote, but because it was profound. Don't forget that "The True Story of A Fei" was originally intended to be a sequel. The end of the film Zhou Muyun is the beginning of the next story, but we don't know what Wong Kar-wai wants to say. But at least we feel that Zhou Muyun will be the actor of the next "A Fei True Story", and we can think of Zhou Muyun not being an independent Zhou Muyun, and must have some internal connection with Xu Zai. This connection may be what Wong Kar-wai is trying to express mainly.
1. Comparison of Xu Zai and Hua Zai
The policeman played by Andy Lau should be said to be a person completely opposite to Xu Zai played by Leslie Cheung. It seems that Wong Kar-wai intends to use the contrast between Hua Zai and Xu Zai to deepen the audience's characteristic of Xu Zai's "A Fei" Impressions, so I just let Huazai accompany Xuzai in the last part of his life to end the life of "A Fei":
Xuzai lives in decadence and luxury, full of resentment and meanness in his heart; Huazai was born in poverty and lives actively.
Xu Tsai is selfish and sentimental; while Hua Tsai is kind and infatuated. This can be seen in the section of the Chinatown Inn. He still loves Su Lizhen.
Xu Tsai was a nihilist, which became more obvious after he came to the Philippines to look for his birth mother and left in despair; Hua Tsai was a realist, so after his mother died, he went to run the boat, "Look at the outside world".
......
To be honest, Andy Lau in this film is a complete supporting role, with no real performance at all, and the acting is a little stiff and sluggish, or it is this rigid realism that makes the decadent qualities carried by Xu Zai more gorgeous and glorious. ...
2. The comparison between
Xu Zai and Zhou Muyun Xu Zai is narcissism and decadence in his bones, so he can be very dedicated to dancing in front of the mirror, he can wear a compassionate shirt and a brightly dressed girlfriend walking on the street; and Zhou Muyun is used to being in the low attic and looking in the mirror when it's dark, carefully tidying up his hair, dressing himself brightly, looking forward to the indulgence of the night...
so Xu Zai and Zhou Muyun are the biggest The same is decadence and indulgence, the difference is that one is in the bones and the other is external. If there is a fundamental difference between the two types of ALFY, it is that one is decadence and the other is indulgence, but it seems difficult for you to distinguish who is more decadent and who is more indulgence.
3. About time
The sense of time in Wong Kar-wai's movies has a unique atmosphere. The movies are often in a trance and make us lose our direction and time. This is a signal about time that reminds us of the progress of the movie, "do" The traces of "are indeed very strong, but it is undeniable that this kind of "doing" is very worth seeing.
4. Regarding the end of the
film Some films say that Andy Lau and Jacky Cheung were rejected by the girl they love in the film, but they are not. Wong Kar-wai cut off the ending to give you more possibilities
for guessing... Regarding Hua Tsai and Su Lizhen, I guess they will meet again at the end. Maybe many people have overlooked a small detail. In a night without people, that public telephone hall Suddenly it rang, who do you think the call was made to?
As for the ending of Jacky Cheung and Liang Fengying, there is really no basis for guessing, but it should be full of tragic...
5.
This paragraph of Wang Jiawei's self-proclaimed beautiful language about the bird without feet is actually not touching. Xu Tsai was interrupted when she was speaking to Hua Tsai before her death. In front of Hua Tsai, this passage seemed hypocritical and funny.
In fact, the English name of this film is "Days of being wild", which is translated as "days floating in the sky", which fits the fable of "birds without feet".
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