"She was shy, lowered his head to give him the opportunity to approach, but he could not for lack of courage. She turns around and goes "(" In The Mood for Love ")
few days ago, seeing " Chunking Express " , While the girl in the raincoat cigarette lighter without stopping and the young policeman, recently dumped by his girlfriend, looking for cans of pineapple that expire on May 1, I said I had to write something here about one of the best and most personal filmmakers This has given birth of cinema in recent times: Wong Kar-Wai.
Wong Kar-Wai was born in Shanghai, but after five years he moved to Hong Kong. There develops writer tasks and other work to feed on Hong Kong's production of gender (in Hong Kong in particular, and Cine-East in general the issue of violence and the Chinese mafia is a very prolific genre and demanded by viewers).
So in his first film, "The Flow of Tears" , the type of permanent dark glasses is baptized with a film of this genre. is from "Wild Days" and, above all, " Chunking Express", when Wong begins its peculiar shape and define the style and contents of what will be, in short, the film later, the that already has left a couple of good masterpieces, at least.
few days ago, seeing " Chunking Express " , While the girl in the raincoat cigarette lighter without stopping and the young policeman, recently dumped by his girlfriend, looking for cans of pineapple that expire on May 1, I said I had to write something here about one of the best and most personal filmmakers This has given birth of cinema in recent times: Wong Kar-Wai.
Wong Kar-Wai was born in Shanghai, but after five years he moved to Hong Kong. There develops writer tasks and other work to feed on Hong Kong's production of gender (in Hong Kong in particular, and Cine-East in general the issue of violence and the Chinese mafia is a very prolific genre and demanded by viewers).
So in his first film, "The Flow of Tears" , the type of permanent dark glasses is baptized with a film of this genre. is from "Wild Days" and, above all, " Chunking Express", when Wong begins its peculiar shape and define the style and contents of what will be, in short, the film later, the that already has left a couple of good masterpieces, at least.
What has made this Hong Kong's sunglasses in one of the greatest directors of contemporary cinema?
I would say that a factor determinant when properly understood and valued his film is both exquisite and a perfect mastery of the language resources and narrative cinema. This formal distinction, the aesthetic elegance of the plans, backed by a perfect combination of intense visual poetry stressed and accentuated by a production design and a soundtrack and a handful of perfect pop songs.
What makes films like "Happy Together", "2046" or "Chasing Love" instant classics on masterpieces, is the juxtaposition of certain sobriety of the great classical narrative cinema of the 40 and 50 with certain techniques cutting edge with that underpins Wong and align images. Because Hong Kong does, more than any other director, a brilliant synthesis between the best American noir the nouvelle vague, a very modern visual composition, a sense of Eastern time, and so on.
Treating the right atmosphere to recreate certain cardinal points which wanders the contemporary human being: love, sensuality, romanticism, warm and emotional strain preceding the consummation of the bodies and relief, sadness, pain and inconsolable of indifference ...
abound in the Cinema of Wong Kar-Wai those silences that reveal everything much better than words; elusive and fleeting glances that reveal the lovers to Antonioni, close-ups and extended content that are reminiscent of those moral rolled Dreyer. There are a lot of film within film by Wong Kar Wai.
I would say that a factor determinant when properly understood and valued his film is both exquisite and a perfect mastery of the language resources and narrative cinema. This formal distinction, the aesthetic elegance of the plans, backed by a perfect combination of intense visual poetry stressed and accentuated by a production design and a soundtrack and a handful of perfect pop songs.
What makes films like "Happy Together", "2046" or "Chasing Love" instant classics on masterpieces, is the juxtaposition of certain sobriety of the great classical narrative cinema of the 40 and 50 with certain techniques cutting edge with that underpins Wong and align images. Because Hong Kong does, more than any other director, a brilliant synthesis between the best American noir the nouvelle vague, a very modern visual composition, a sense of Eastern time, and so on.
Treating the right atmosphere to recreate certain cardinal points which wanders the contemporary human being: love, sensuality, romanticism, warm and emotional strain preceding the consummation of the bodies and relief, sadness, pain and inconsolable of indifference ...
abound in the Cinema of Wong Kar-Wai those silences that reveal everything much better than words; elusive and fleeting glances that reveal the lovers to Antonioni, close-ups and extended content that are reminiscent of those moral rolled Dreyer. There are a lot of film within film by Wong Kar Wai.
"Mood for Love" is a film barely noticeable friction in narrow alleys, in whispers and caresses under the persistent rain, the love that comes out, all-encompassing.
"2046" is pure hypnosis film. The viewer is abducted by the succession of images of intense and poetic visual engineering, by the powerful imagery of his immobility millimeter precious, being able to be visualizing one of the more interesting exercises on the domain of film language that is able to assist in a long time. Very Hollywood, which catches the viewer off balance and surprised as if he were attending for the first time that projections of Lumiere in 1895 where workmen rushed out of a gray factory.
The feeling of returning to rise from zero as a spectator, to return to the virginal point that our capacity for surprise remains intact and is not conditioned by the millions of stimuli that have been immunized after our persistence of vision.
"2046" is pure hypnosis film. The viewer is abducted by the succession of images of intense and poetic visual engineering, by the powerful imagery of his immobility millimeter precious, being able to be visualizing one of the more interesting exercises on the domain of film language that is able to assist in a long time. Very Hollywood, which catches the viewer off balance and surprised as if he were attending for the first time that projections of Lumiere in 1895 where workmen rushed out of a gray factory.
The feeling of returning to rise from zero as a spectator, to return to the virginal point that our capacity for surprise remains intact and is not conditioned by the millions of stimuli that have been immunized after our persistence of vision.
And not only are the visual and language proficiency classical and avant-garde film that made Wong Kar Wai flat a wizard of the strings. We must also have a director of photography Christopher Doyle impressive as , a musical repertoire that includes Xavier Cugat , Dean Martin, Secret Garden, Nat King Cole , a cast the likes of Tony Leung , Gong Li, Maggie Cheung .. . you just have to see the class with Maggie Cheung wears her dresses tight and oriental prints "Chasing Love" tribute to or C. Gable and the great stars of the golden age of American Cinema Tony Leung performed in "2046" to realize that this is players of great quality.
If you do a little heed to the words of Bunuel "mystery is the key element of every work of art" - is when we fail to ask questions and begin to get carried away by the fascination is to watch again the magic of cinema in its purest form and the reason for the persistence in memory and in the retina of those shots and sequences that do not give the time or started oblivion.
"Mood for Love," "Chungking Express", "2046", "Happy Together" ... is again left surprised and learn to love a little more life and Film. It's that wonderful feeling that makes Wong Kar-Wai to be attending both the past, present and Future of Film ... feeling that only come to get pass the great artists.
The truth.
cinéfagos
Greetings Jim.
If you do a little heed to the words of Bunuel "mystery is the key element of every work of art" - is when we fail to ask questions and begin to get carried away by the fascination is to watch again the magic of cinema in its purest form and the reason for the persistence in memory and in the retina of those shots and sequences that do not give the time or started oblivion.
"Mood for Love," "Chungking Express", "2046", "Happy Together" ... is again left surprised and learn to love a little more life and Film. It's that wonderful feeling that makes Wong Kar-Wai to be attending both the past, present and Future of Film ... feeling that only come to get pass the great artists.
The truth.
cinéfagos
Greetings Jim.
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