Aside from the deficiencies in the script and production, I actually like the story concept of "Blueberry Night", and I can't believe that it was written by Wang Da. Let alone the consciousness, the warm reunion is scary enough. Big! group! round! Knot! Bureau﹗ incredible! I will not regard Wong Kar Wai's movie as a tragedy, because his movie does not make people mourn and cry, it will only make people helpless. Anyway, this era is neither popular with happy endings nor tragedies. In postmodern we are popular with poignancy and heroism. "Romanticization" has become a ritual, a sacrifice, and even our only salvation. How many of the generation bred and grown in the film and pop music culture can get rid of the shackles of this consciousness.
From "The Story of A Fei" to "2046", Wong Kar-wai played the same tune over and over again. I remembered the title of "Love in the Fallen City". The night of the lamp, pulled over and over, telling endless bleak stories. Wang’s movie roles can be divided into two categories, one is uninhibited, and the other is obsessive. You chase me in the dazzling light and shadow. They are good at monologues for their own living conditions, but they can never be in a realistic situation. Li and the people around him merged and understood each other, and fell into a kind of eternal, frozen and frozen loneliness, living on Wang Jiawei's planet. This reminds me of Zhang Ailing’s famous line in the preface of the reprint of "Legend": "Even if the individual can wait, the times are rushed. They are already under destruction, and there is still greater destruction to come. One day our civilization, whether it is sublimation It’s still flashy, and it’s going to be a thing of the past. If the word I use most often is "desolate," it’s because of the threat of trepidation in the background of my thoughts. "
If "2046" is Wong Kar-wai's summary of the previous work, "Blueberry Night" can be said to be an observation, like a middle-aged man after crossing the ocean, looking back at the first half of his life from another angle. In Wong Kar-wai’s planet, Elizabeth, played by Norah Jones, is simply a visitor from outside. She knows her needs and can fit into every situation. She actively seeks answers with questions and establishes a true relationship with people she meets on the journey. Rejecting lust, knowing how to let go at the right time, willing to believe in people, willing to trust destiny, I always applaud this woman in my heart. Wong Kar-wai used this woman to elevate us to a new perspective, re-examining the people on the Wang's satellite ball, from "A Fei Zheng Chuan" to "2046" entwined like ghostly characters. The drunkard Arnie played by David Strathairm represents a group of crazy swords, such as Takeshi Kaneshiro in "Chongqing Forest" and Tony Leung in "Happy Together"; and Leslie, played by Natalie Portman, the rootless gambler, even The names are all clearly indicated, in memory of the older brothers on the satellite of Wang's family-Xu Zai in "A Fei Zheng Chuan", Ouyang Feng in "Evil and West Poison" and He Baorong in "Happy Together".
Harm is always unavoidable. We can't escape from life and death. How many people fall back and forth between the fear of not possessing and the fear of losing, so that love eventually becomes mutual harm. Elizabeth and Arnie and Leslie passed on the trajectory of their lives. She truly cared for them. However, one lost his life for fear of losing his wife, and the other lost the chance to see his father for the last time because she did not dare to have it. Wang's satellite has its own way of rotation. Elizabeth can't rewrite their destiny, but their experience made her understand love again. After a life exile, she cleaned her atrium and returned to New York, and set off on the path of love again. She believes that since Jeremy played by Jude Law really loves her, she will definitely wait for her return. Her departure does not mean rejection, but just to prepare a better self to love again. This kind of courage and resilience is really convincing.
"Blueberry Night" brought out such a brave, innocent, determined, and open-minded woman, who watched the sentient beings of the Wang's satellite ball like a ray of sunlight in the dark, suddenly piercing our eyes. I think Zhang Ailing is right. There is still greater destruction to come. One day our civilization will pass away. However, I believe that behind this perplexing threat, everything has its purpose. The desolation of life does not originate from destruction. , But it is because we have lost the power of love.
There is no fear in love; when love is perfect, fear is removed. Because there is punishment in fear, and the person who is afraid is not perfect in love. We love because God first loved us. (John 1:15-19)
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