What kind of ghost is Wang Jiawei?

Brett 2022-01-21 08:03:31

(The public account "Literary Road Crossing Boom", this article only involves one of the short films "Hand")

In the period when I was still trying to become a writer, there were many unwritten self-arrangements. For example, I won’t be intoxicated by small articles, because “the pattern is something tofu can’t have”, and he won’t deliberately create any style, because “the accent is not good for a novel”, and he won’t indulge in the character of Shuangwen, because “ That's not life", and won't pursue the rhythm of melodrama, because "that's easy to popularize literature"...

Although the literary dream has long been broken, I still remember that innocent and innocent self... One of the other things is, "Don't pay attention to the artist himself and the tidbits more than his works."

I don't remember why there is this one. Probably it has something to do with "you don't need to know the hen who lays the eggs". It may also be time-consuming to dig out such things. More likely, I don't like the process of realizing the artist.

There are two extremes to the artist's perception: 1. The heart-to-heart type. Reading, watching and listening, in the most harmonious moment, it can be seamlessly connected and perfectly fit.

2. Yunshan mist cover type. Even if you die, you can't get the other side.

Most viewing activities are in a state between the two extremes, that is, sometimes it is not clear, and sometimes if there is something to be gained. Therefore, it is almost instinct to search gossip like a picture...

Of course I have dug... it's just not proactive. I have a mentality of "closeness and cowardice", and I don't want to know that the creators I like may be different from my imagination. And the creators I don’t like very much can’t find the passion to gossip... So I have been immersed in the research with great interest, so there are only a few...

Now it has been a long time far away from the whole literary dream and everything related. The former mood, but like the dark fragrance in the night, occasionally drifting from nowhere, turning around and forgetting... Only occasionally suddenly becomes sensitive and accumulates to return.

For example, I re-watched "Eros" that Wong Kar-wai participated in that day. Suddenly, I became annoyed, and I started to think about a question that I had also thought about: What kind of ghost is Wong Kar-wai?

I deliberately searched for interviews related to movies.

There is no use for eggs...The hottest video, although Cai Kangyong is already very sharp, but the King of Sunglasses still "does not speak truth in key parts" for thousands of years.

I actually saw this movie before. Among the three short films, the one that I dislike the most is Wang's "Hand", but the strange thing is that after many years, I still remember it alone.

I guess it's probably because of the plot.

There is a socialite (Gong Li) and a designated young tailor (Zhang Zhen). The little tailor tailored the sociable for the first time, and was molested (please see how to molest yourself). With her slightly strong and indecent feminine charm, the social flower is deeply settled in the heart of the little tailor. After many years, the sociable flower was divorced, lost power, lost money, fell ill... In short, the little tailor became a senior tailor with a beard. Always take care of each other without asking for anything in return. In the end, there was not much time for socializing, so I asked the little tailor on the sick bed if she wanted her to make him happy again in the same way as in the past-"I used to have some capital, but now I can't use it, I only have these hands." The two exchanged tears and huddled together. As soon as the camera turned, the little tailor told the master that the sociable flower had left beautifully, but the audience knew that he was dead.

Why didn't this film be my favorite?

On the one hand, the aura of love is more unpredictable than nakedness, and on the other hand, the selfishness of Gong Li's character flogged my three views. It must be said that Gong Li really doesn't have any social flower temperament. Her social flower makes people feel that it is either forced out, or it is at the peak of the moment but will soon start to decline... (Remember her role in this type)

Looking at it now, I can't say that I like it very much. But the look and feel is different from that of the year. Complex and divergent a lot. I can accept it more than before. There is a man who will tolerate, be humble, come and go as soon as he is called, and like a bad woman. I also accept that a bad woman may not be kind for a lifetime, but in the end she gives a man heartily and sincerely. I saw tears streaming down my face in the rival scene on the eve of the death, and I fully understand why Zhang Zhen said that this scene once made him unable to extricate himself, and even developed an attachment to Gong Li.

But I always feel that there is something abnormal about this film-it's not very dark glasses king. It is more "real", more concrete, and the context of abuse is clear.

Wong Kar-wai is rarely like this. Both sorrow and joy have a sense of confusion, even entangled, and the style labels expressed are very strong.

In the interview, Wang said that the roles of Zhang Zhen and Gong Li actually both continued and appeared in "2046". I have always ignored this kind of straddle in his works-although I am not disgusted with the establishment of a similar personal world, I just don't bother to pursue it. He also said that in fact, this story has a lot of room for expansion, but it is limited in length, so let's stop there. So everyone felt quite unfulfilled after the filming.

I think it is because of this restriction that he has left a rare and neat skeleton and has no chance to add many clouds that he loves. Wong Kar-wai was a scriptwriter, and it is not a problem to use the length and breadth of it. I still think his "Evil and West Poison" is one of the best scripts.

Then there is performance. In the interview with Wang Jiawei, he laughed and sighed that Gong Li initially described "what's going on" like a mainland cadre... Although Gong Li doesn't have the character temperament that I think, but the last scene and Zhang Zhen are still breathtaking-and a kind of Very solid acting. It is reminiscent of a film critic saying that Zhang Ziyi in "2046", to the effect that Zhang Ziyi ignores the assimilation of Wong Kar Wai's style to actors, and stubbornly uses her own mainland academic style performance method to collide with a kind of unprecedented in Wong Kar Wai's movies. Effect.

I think Gong Li should only be more stubborn... After "2046" she publicly stated that she did not want to film with Wang anymore. And Zhang Ziyi in "The Great Master" does not seem to have the subtle sense of disobedience (of course, "One Generation" is actually another state of Wang Jiawei). So the ending effect, I feel that most of it may be given by the actor. This scene is very difficult to act. If it is not done well, it will be bloody, frivolous, or unbelievable. To grasp the balance, and let sadness become the most intense emotion in the five flavors. If it is another actor, it may be a kind of ethereal love break, but now these two have become a very realistic existence, so you have to stop abruptly and sigh in your heart. ——"This is so much life!..."

In the film, Gong Li, who is poor and sick, still has beautiful hands, painted with red codan. Wang Jiawei said that when shaking hands before, he found that Gong Li's hand was reverie, very soft...

I have to say that Wang is really weird. He was able to design such a plot because of this. I am also very convinced...Compared with his previous sorrowfulness-he is never abstinent but he is relatively uninterested in nakedness-this one Erotic temperament is considered the most "usual". Probably it has something to do with Gong Li's own taste. But in the interview, he said that he actually likes women who are a little bit fat. Can I think he is hiding himself again? ? ? ? Which movie heroine has he got fat?

In short, in trying to gossip to find the creator, this time basically failed. Wong Kar-wai is really a director who is very good at counter-peeping. I'm also a peeper who lacks stamina. Yes, that's it~~~

After all, when I re-watched this film, my original intention was to dilute my love after watching Zhang Zhen's other movie apart from "The Fate of Chen Xi." After reading it, think about it again. I think that a character like Jiu Chen is really too easy for Zhang Zhen. The only thing that is difficult, I guess, is how to maintain a delicate and stable consistency in the long and not everywhere reasonable length of the TV series.

In movie performances, the sense of measure at the top of the iceberg, the condensed and long afterglow brilliance, Zhen Ge actually used it in his first TV in his life. It was still very successful, and the fermentation was full of stamina.

But the feeling of the moment that is eternal in the movie, the charm that cannot be created by the penetration and subtlety of space, is ultimately difficult to replicate.

So Brother Ai Zhen, still have to watch him act in a movie...

As for Wong Kar-wai, you don’t have to understand it completely~~~~~ because, anyway, you still won’t understand! !

Scan WeChat to follow the official account

View more about Eros reviews