This is the first sentence of the opening sentence of Liu Yichang's "Drinkers" that I read this year, and I immediately thought of the opening subtitle of "2046": "Memory is wet Yes." Sure enough, after reading more than a dozen pages, I found this sentence: "A damp memory." I closed the
book, and in a month's time I read Wong Kar-wai's works again and again, and found that he actually So deeply influenced by Liu Yichang.
The relationship between the three dramas "In the Mood for Love", "In the Mood for Love" and "2046" is obvious, but that's only in terms of plot. In terms of style, "In the Mood for Love" and "2046" are the closest because they both restore Liu Yichang The world under the pen.
The relationship between "In the Mood for Love" and "Upside Down" is the director's own account, and a book has also been published. The relationship between "2046" and "Drinkers" has never been mentioned. I have no doubt that Zhou Muyun's prototype is the protagonist in "Drinkers", or Liu Yichang himself. A down-and-out writer, a frustrated man with his head buried in wine and thinking. "2046" only removes the discussion of literature in "Drinkers", and the whole film is to interpret the dozen or so words at the beginning of the article "rusty feelings and rainy days, thoughts hide and seek in smoke circles."
Regarding the restoration of many details, I will not go into details. Interested neighbors can find this book and have a look.
Liu Yichang's memory belongs to the war, and Wong Kar Wai's memory belongs to Shanghai.
After watching "2046" for the first time, I regarded it as my favorite Wong Kar-wai movie, and then I found that the reputation was not good. I watched it again and still liked it.
Until this time, I have a very different feeling. Compared with another multi-character work "Evil in the East", "2046" is blunt and unsmooth in the connection of the plot. This is the deadliest part of Wong Kar Wai's work hurt.
Yesterday I created an album called "Wong Kar Wai and Li Shangyin". The description of the album reads: "Wong Kar Wai often reminds me of the "non-mainstream" poet Li Shangyin. His films are full of beautiful images: cheongsam, lighthouse, waterfall , tree holes..., they form the most fascinating verses, like the inexplicable Li Shangyin's verse "The sun warms the blue field and the jade grows smoke", mysterious and beautiful. They are not profound, but dazzling , this may belong to their unique aestheticism.”
Magnificent images are easy to find, but it is difficult to organize them, and beauty and emptiness are often only one step away. "2046" is just empty with a bunch of beautiful images, but not a good sentence.
I have finished what I want to say, but I don't know how to end it. Why don't I write down the words I liked in "Drinkers", which seems to be what "2046" is trying to discuss.
"Time is never tired. Long needles pursue short needles without hope."
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