Wong Kar-wai's "Belonging to that Era"

"That era has passed, and everything belonging to that era does not exist."

From 1988' s first novel When Tears Flowed to 1990' s True Story of Teddy Boy, 1994' s Ashes of Time, 1995' s Chongqing Forest,1.

Wong Kar-wai's films are beautiful in music, scenes, actors' gestures, dialogues, gestures, costumes, composition, editing and lens language. One of the important reasons why Wong Kar-wai's films can be watched repeatedly is that he is fastidious and ambushed in every detail in the film ~

1. Many scenes and characters in Wong Kar-wai's movies can be traced in his life.

Wong Kar-wai was born in Shanghai. From 65438 to 0963, Wong Kar-wai was five years old and moved to Hong Kong with his parents. Wong Kar-wai was lonely when he was young. He doesn't like communication. He spent nearly ten years learning Cantonese. When he was a child, what he often did was go to the movies with his mother. Wong Kar-wai once said that it was his mother who had the greatest influence on his filming. Her mother has no friends in Hong Kong. She always speaks soft Wu Nong soft language, wears purple cheongsam alone and lives in a foreign land. Wong Kar-wai is her concern, and she has few friends to talk to. Years later, when In the Mood for Love earned tens of thousands of tears, what Wong Kar-wai really missed was her mother.

Second, every ant has eyes and nose.

Wong Kar-wai's films pay attention to the subtle feelings of lonely individuals in urban life. Gangsters at the bottom of the city, killers on the edge of the city, lovers wandering in foreign countries ... Even martial arts stories like Time Has Changed can be made into literary films by Wong Kar-wai.

Wong Kar-wai thinks that throughout his film history, only The Grandmaster has broken through the previous film style. No longer only describe personal feelings, but focus more on a kind of belief and a kind of strength. ...

Third, the time symbol of solidification.

Wong Kar-wai likes to use numbers, such as time, distance and date. These are sensitive evidences again. Only sensitive people can remember the date, time, distance and so on so clearly, because it is unforgettable, because it will not be easily forgotten.

In The True Story of Teddy Boy and In the Mood for Love, Wong Kar-wai used clock symbols to connect time with people, expressing his unforgettable memories of the past. The time display on Chongqing forest pager indicates that time means being consumed; Emotions will expire. Time has become a past that characters can never trace back.

In Ashes of Time, Wong Kar-wai used Jing Zhe, Summer Solstice, Millennium, beginning of autumn and beginning of spring to divide the five articles of association of the film, and finally mentioned Jing Zhe, which represents a year's cycle and wants to convey endless beliefs.

Fourth, the romantic Wong Kar-wai's "Ten Thousand Years"

Wong Kar-wai's movie lines are like a motto, a wandering poem. His lines play a vital role in portraying characters and expressing the theme of the film.

His movie lines seem to be completed in an atmosphere, and the lines are full of richness and loss in his movie pictures.

: 1, if the memory is also a can, I hope this can will not expire; If there must be one more day, I hope it will be ten thousand years. -Chongqing Forest

The more you want to forget something, the better you will remember it. When you can't get it, all you can do is not forget. -"Ashes of Time"

If I have an extra ticket, will you go with me? -In the Mood for Love

4. Mr. Ye, all encounters in the world are reunions after a long separation. -"A Generation of Masters"

5, a person can pretend to be happy, but the voice can't be faked, as long as you listen carefully. -"Spring is bursting"

6. Mr. Ye, I give you my reputation today. In the future, you are a challenge step by step. I hope you take a breath and light a lamp like me. You know, if you never forget it, there will be bad consequences. Where there are lights, there are people. -"A Generation of Masters"

7. Everyone will go through this stage. When they see a mountain, they want to know what is behind it. I really want to tell him that maybe over the back of this mountain, you will find nothing special. Looking back, I may feel that this place is better. -"Ashes of Time"

……

Fifth, the "iron triangle" created the Wong Kar-wai-style image art.

Since 1990s, Zhang Shuping, Du Kefeng and Wong Kar-wai have formed an iron triangle, which has shaped the iconic image of Wong Kar-wai.

Zhang Shuping, as an imperial art designer and costume designer in Wong Kar-wai, and classic costume designs such as In the Mood for Love, ashes of time and Grandmaster are all from Zhang Shuping. Today, Zhang Shuping is still active in the field of costume drama design (today is different), but it must be said that the aesthetics and art of Zhang Shuping's era are still at the peak.

I recommend you to watch In the Mood for Love and feel it. Inside, Maggie Cheung wore more than 20 sets of cheongsam, all designed by Zhang Shuping himself. Cloth is his private collection for many years, and the materials and fancy are out of print. Then it was made by master Liang Langguang, and it took more than a year. The editing of this film is also contracted by Zhang Shuping. This film can be regarded as the most "minimalist" work in Wong Kar-wai's history, with the least number of shots containing rich information. Zhang Shuping Scissorhands cut all the shots that could be cut. When you watch it for the first time, if you don't watch it carefully, you will miss many details, but these details are the key to promoting the development of the plot. When the camera turns, it may just be that Maggie Cheung changed into a cheongsam, but it means the change of time and plot. The lens is so at least, so rich in content. The ingenious combination of editing and soundtrack and the impeccable acting skills of the actors make it difficult for In the Mood for Love to become a classic.

As a royal photographer in Wong Kar-wai, Du Kefeng's True Story of Teddy Boy, Chongqing Forest, fallen angels, Spring Break and 2046 are all from Du Kefeng's lens.

Wong Kar-wai once said, "Many people say this is my style, but it is actually just a solution", and this solution is basically the result of discussion with Du Kefeng. From Chongqing Forest, Du Kefeng is chasing Brigitte Lin with the effect of camera and slow shutter frame. Light, shadow and color changes in Spring Break. Wide-angle shooting in fallen angels and so on.

I recommend "Chongqing Forest" and "Spring Scenery", which in my opinion best represent the peak of cooperation between Wong Kar-wai and Du Kefeng. Hand-held photography, shaking lens, unique shooting angle, artistic composition, changes in light and shade ... tell me more about "spring scenery". Watching this movie can only be described as amazing, and I don't need to say much about the acting skills of my brother and Weizi. Judging from the pictures of the film, no matter the composition, angle, light and shadow, every frame is enjoyed ... What is even more rare is that these pictures are not only shot for visual beauty, but also the colors of the lens are plots. The cold and warm colors of the film are a portrayal of the hero's mood and can also reflect the distance between two people ~ so, each color has its feeling.

6. Why do some people say that Wong Kar-wai and Jiang Lang are exhausted?

This is a question that has been watched 2.93 million times on Zhihu, and it is also a topic that Wong Kar-wai fans have been paying attention to. Here, I want to extract an answer that has been recognized by nearly 5,000 people: Wong Kar-wai and Jiang Lang are not the only ones who have finished it, but because his creative style can no longer be played in this era. No actor wants to go crazy with him. Capitalists want to make quick money. He can't wait for so many years of consumption and theme suppression. ...

"That era has passed, and everything belonging to that era does not exist."