Saturday, February 19, 2005
王家衛的沉溺
早前於戲院看罷《二零四六》，第一個感覺就是「困於過去的沉溺」。
這是王家衛的人生哲學？還只是《阿飛正傳》《花樣年華》《二零四六》三部曲的終極結論？
若從解構電影的角度，有太多的元素可以抽絲剝繭地把王家衛的電影來個大分析，把戲中的每一個元素跟他之前的創作來個配對；但從一個尋求與片中主角共同經歷的角度來說，我感到有點失望。
我看到的，不是周慕雲面對他眾多感情的迷惑，反是導演對他過去幾年所拍下的片段眾多的不捨；
我看到的，不是周慕雲困於過去的沉溺，反是導演需要處理過量人物角色的發展困局；
我還是喜歡在《花樣年華》中那種平靜得近乎死寂的「周生」「陳太」的互相稱呼，也愛與他們一起寫小說的日子。至少，我沒有見到王家衛的身影在電影中搖搖晃晃。
二零四六，是沉溺過去的未來？還是通往未來的過去？還是只是一部永不停站的列車？期待著王家衛下一部作品，期望著他的突破。
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6 comments:
2046 is a crap film. Wong Kar Wai is a crap filmmaker. How can you or anybody still expect anything from this chap?
Throughout the whole film, you can obviously see that Wong Kar Wai has no idea what he is trying to do, & is (at best) trying to figuring out what to do next ... perhaps in the next shooting day, or the next month, or whenever.
From a production point of view, this film is just TOO obvious that he is simply shooting a bunch of negatives (films) without knowing what he is going to do next. Then, years later, he sits in from of the editing table (be it Steinbeck or AVID or anything), & starts to wonder how he can put the bits & pieces together. Then he wrote a VO for Leung Chiu Wai which he uses as the continuity of the whole film. The film is the VO. Without the VO, the film makes no sense at all.
The film is not only indulged. The film is a set up. Cheating all those Wong Kar Wai fans in the whole world to write this & that & discover his inner world & x & y ...etc.
I have never been a fan of his. I never thought his films are great. But 2046 is worse than ever.
I would be happy to see him stop making film --- thus stop wasting the world's precious resources.
hm....i am not very sure how crap Wong Kar wai is. I did enjoy his film "In the mood for love" which, illustrated a very subtle and deep lovers relationship. However, I felt a bit annoyed by the 2046 asI sensed that he was not a responsible filmmaker in that film. I agree with you that I can see no theme or well-organized thoughts in this production but a lot of Britishs did love it (I did the informal research by listening to the conversations in the toilet and foyer after the show).
But I am quite sure that Wong's production style cannot really work for a greater market as I thought maybe no one is willing to pay him for so much to pay for not his production, but also his idleness.
人可沉溺的，就只會是自己的「過去」。人可妒恨的，可眷戀的，可懷念的，可追悔的，都是我們的過去。
人重視過去，披著奔向未來的外衣，只不過想與時並進，查找不足。查還查，未來如何，Who knows?
未來，是周慕雲的虛假。他的心，根本就遺失在1968。
掌握人的沉溺，是王家衛成功的地方。畢竟他從來都是以身作則。春光乍洩97情結「可以重新開始」的素願，也不過轉瞬間消失得無影無蹤。
如斯景況，人難於「心繫家國」，反懷念「天佑我皇」。當然也要天保佑我...(Mr.)王了。
掌握人的沉溺，是王家衛成功的地方;
不能掌握自己的沉溺，是他的失敗。
siuchung & yamje 意見都好相同喎.
我想看佢的下一部戲, 因為我想看看到底佢仲有冇戲開(仲有無人肯比資金佢?),同埋佢仲會拍乜呢(定係2046條橋已經出盡呢)?
在2046裡面, 我覺得佢得罪好多木村fans, 就係將木村攪到好「肉酸」, 同埋佢的戲cut 到好少.
不過, 我仍好想強調我好鐘意「花樣年華」, 至於導演本人, 我就不願(懂)置評啦.
我肯定王家衛不是從2046來的未來人,他只是一個對過去著迷的異人(異於常人)。同意阿輝說王家衛成功的地方在於掌握人的沉溺，因為他自己就是浮游在沉溺中,今次在2046他有點令人費解,我們不明白他為什麼拍了那麼長時間,為什麼這樣虧待木村張曼玉(特別是張震),為什麼說故事突然畫公仔畫出腸,為什麼加了那麼多商業成份)。
但偏偏就是這樣我們才看見王的心思和他對自己以往作品的沉溺和野心。
我反而喜歡2046和它的不確定性,以及它的沉溺,越不能自拔就越喜歡。
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