2046": loves with hitch in a hotel room Forum Index -> Tony Leung Articles
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PostPosted: Fri May 21, 2004 9:59 pm    Post subject: 2046": loves with hitch in a hotel room

2046": loves with hitch in a hotel room
THE WORLD|21.05.04| 14h44

Return in Cannes of Wong Kar-wai, realizer of "In the Mood for Love", which had received only one technical price into 2000 before being an exceptional success at its exit in rooms. Arrived in extremis on the Small cross, the new film of the Chinese is in track for the Palm.
Chinese film of Wong Kar-wai with Tony Leung, Zhang Ziyi, Gong Li, Takuya Kimura, Faye Wong, Maggie Cheung. (2 hours.)

Febrility. The film was announced in Cannes in 2002, then in 2003. Finished for a few days hardly, conveyed with delay, 2046 , of which nothing had filtered before its projection (this title enigmatic announced it a science fiction film?), has constrained the organization of the Festival of Cannes to modify the grids of programming of Thursday May 20.

The access to the room took place in a certain scuffle. Then the light was.

Science fiction, Wong Kar-wai delivers some plans. A metropolis of comic strip, austere jungle of skyscraper animated by a line of high-speed train. Rough decoration, without imagination, a such cellulo without gouache. Then a sight of the subway of the interior, chromium pipe and metal on which sinks a vertiginous train, towards a horizon bottomless. Lastly, an improbable refuge, where a man, look rock'n'roll, try to convince a androïde, punk hairstyle, to leave with him about 2046. In vain. Fixed eyes, the girl does not answer.


This prologue is a lure. A projection of the spirit. Because the hero, Tony Leung, actor fetish of Wong Kar-wai, costumes dark, moustache in the Jean Fine sand, irreducible smile of sad child, are a writer who blackens pages where the premonition is in horn the eye. The train which, in its novel, sinks about 2046 is out of back dolly. Pen in hand, it is to a melancholic person seeks disappeared time which it delivers, trying by the writing to change the course of last events. In vain. Film with literary construction, thinks punctuated of poético-romantic paragraphs, 2046 reels a subtle chaos of reminiscences, a litany of memories, desires, dreams, lost occasions.

2046 are the number of a hotel room. The narrator formerly found there, by chance, a woman of the streets which it had attended in a preceding life. He wanted to settle there in his turn, he discovered that the girl had been assassinated there. A long time tenant of the 2047, it will haunt this corridor of hotel, épiant the procession of the boarders female, their relations with passing lovers, inviting itself his conquests. All, in this ballet of shades and lights, this play of Peeping Tom, these intrusions in the intimacy, evokes drive out-cross the pure in love one with In the Mood for Love , this jewel hypnotic that sworn Festival of Cannes had believed good to be unaware of in 2000 (except a ridiculous technical price).

No change of course at Wong Kar-wai. If, unlike In the Mood for Coils , where the two characters, married each one on their side, were satisfied with rubbings and repressed desires, 2046 explore the empire of the directions and the plays of perverse seduction. The poetic form is the same one, hypnotizing, orchestrating the displacement of the bodies on a throbbing tempo, fixing the volutes of the smoke of the cigarettes, cultivating an obsessing old story of dresses with floral reasons, pullover without handles, high-heeled shoes, operatic arias or lovesongs of crooners. Music, clothing blazing, counterparts languides echo states of heart of these maudits born in the worship of Nat King Cole or the cha-chas of Singapore.

It is still about frustration, of too fugitive bringings together. That Tony Leung evokes the passage of a girl equipped with one sighing Japanese for the epistolary agitations, that of the player of casino, mygale to the black glove, which bears the same name (Su Lizhen) that that of a woman loved formerly, neither completely the same one nor completely another, or that of the girl of the room of at side, savage, éperdue, that it puts on ember, always returns the fate of the impossible loves. 2046 fact the assessment of malencontreuses decencies, dangerous plays, evasions and nonsincere approaches. For the beauty of the literary gesture or mû by a cruel selfishness, the narrator is authorized all cowardices, delivers himself to the venal traffic, cuts off himself in his shelter. He "lends himself", does not give anything, hardly reconsiders his steps.


In 2046 , neither the men nor the women leave the labyrinth. The ones pass. They resist, monnayent their charms, throw their venom, succumb. They have sometimes the best charts in hand. The love is played pile or face. Unilateral. Impossible to be "happy together". Tony Leung is losing each time that it believes capacity to cut down an asset. It is cynical each time that it wants to have the last word. It and they like each time too early or too late. They are wished with hitch, at against-distance. In dissonances. Their gestures are inconsistent, their plans are transitory. The writer does not change a mine. The women ravel, the women cry. There are too many silences, too many unvoiced comments, too much pride after intoxication, in front of, each side banknotes of the table of the restaurant. It is midnight suppers of Christmas to tear off you the heart.

Gold palm in power, sublimates it film of Wong Kar-wai has just raised of a notch the level of the Festival. We are there in the presence of a very great creator, whose images mark the unconscious one. Its camera prints a kind of dance, its aesthetic virtuosity made sourdre an instinctive emotion. All the acts, even with the roof of tearing, appear soft, idles, fixed by time, even when they let guess an extreme pain. If it is long sobs, never here the expression of sorrow does not last for ever. Loneliness perdure, the confusion of the feelings is exacerbated.

Any start seems useless. As if any hope were diluted in the dissolve of the destinies, each protagonist being abandoned to its yellowed memories.

The setting in fugitive scene of attractions in pretences returns upsetting the expression of these despairs incandescent. There is something of durassien in the way in which Wong Kar-wai makes re-appear passion echoes and rétros with amounts of voice, psychic giddinesses, intimate wounds. The beauty of certain police films is due to the decision of their authors to have held, to increase the tension and to suggest the unutterable one, to leave the camera behind the door. Here, Wong Kar-wai, who asserts disciple of Hitchcock, speaks about assassination of the hearts by watching for negligible sighs and the obsessional echo of the choked fulgurances.

Jean-Luc Douin
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PostPosted: Fri May 21, 2004 10:20 pm    Post subject:


After the departure of Known Lizhen (Maggie Cheung), Zhou Miyun (Tony Leung Chiu Wai) takes refuge in the writing. It thinks of writing on the future (2046, reference to the number of the room which occupied the couple of "In The Mood For Love"), but does it of it is on the past. In its novel, a mysterious train leaves
regularly for 2046. The travellers on his board borrow it for y
to find their memories. Only one traveller returned from 2046.

Wong Kar-Wai began his cinematographic course in Hong-Kong by climbing all the steps of the manufacture of a film. Initially assistant of production, it will write then scénarii for television, then for the cinema. The contacts that it established enable him there to be able to carry out its first film HAVE TEARS GO BY, of which it wrote the scenario. Accomodated coldly by criticisms, Wong Kar-Wai connects with OUR WILD YEARS which will not have more chance with the boxoffice than the precedent. The realizer nevertheless was surrounded of the family of actors whom it will find in his next productions, like Maggie Cheung and Tony Leung.
The two following films that it will turn almost at the same time have 2 opposite designs: ASHES OF TIME is a large historical fresco, with a logistics impressionante, whereas CHUNGKING EXPRESS TRAIN is a full-length film turned camera with the shoulder in complete clandestinity compared to the legislation. It is however this realization which will be worth the international recognition and its first public success to him. Consequently, it sees its films appreciated by the international festivals where they gain many prices, such that of the best photograph in Venice for ASHES OF TIME. HAPPY TOGETHER and IN THE MOOD FOR COILS will confirm this passion for this realizer whose each project now is very awaited.

Gong LI was revealed by its association with the realizer Zhang Yimou with films like the RED SORGHUM, WIVES AND CONCUBINES, FOOD, or SHANGAI TRIAD. At the end of their personal history, it will have the occasion to turn with other large Chinese realizers like Chen Kiage(ADIEU MA CONCUBINE). More refractory than her other comrades to start an international career, it nevertheless accepted a role in the adaptation of the data base Black and Mortimer M(LA MARKS YELLOW).
Tony Leung begins his career with television before obtaining interesting proposals, from Hong-Kong to Taiwan, like the CITY OF the PAINS of Hou Hsia Hsien and HISTORY OF CHINESE PHANTOMS 3 of Tsui Hark, member of the jury to the Festival of Cannes 2004. But it is with Wong Kar-Wai that it finds his best collaboration artistic, with for climax the price of male interpretation gained for IN THE MOOD FOR COILS.
Maggie Cheung began its career on the covers of magazines before becoming a prolofic actress in popular films of kung fu.
It is Wong Kar-Wai who detects the first all his dramatic potential by engaging it for ACE TEARS GO BY. Their collaboration will continue with 4 other films whose last is 2046. Meanwhile, it is very asked by the Asian realizers and connect the full-length films like CENTER TRAINING COURSE, which is worth the Money Bear to him of the best actress in Berlin, or recently HERO of Zhang Yimou. Its meeting with Olivier Assayas will also lead to common works like IRMA VEP or CLEAN.

For Wong Kar-Wai, it is about its fourth arrival to the Festival of Cannes.
HAVE TEARS GO BY made party of the selection of the Week of Criticism into 89, then HAPPY TOGETHER is found in official competition into 97, which is worth to him the price of the setting in scene, whereas IN THE MOOD FOR COILS will set out again with the price of male interpretation for Tony Leung and the price of the technical comission in 2001. 2046 are thus its 3rd participation in the race of the Gold Palm.
For its actors, to assemble the steps becomes also a practice. Gong LI owes its international fame with the demonstration (6 films in competition and member of the jury in 97), whereas Maggie Cheung and Tony Leung widened their artistic contributions in international productions following their presences in Cannes.

With the origin, 2046 were a history of anticipation inspired by "Lohengrin",
the opera of Wagner.

2046 were already waited last year in Cannes, then in Venice, but Wong
Kar-wai is known for its turnings which last for ever. In 2000 already, IN THE MOOD FOR COILS had been presented the day before Festival closure then
that it was not completely finished. The turning of 2046 began in
1999, at the same time as that of IN THE MOOD FOR COIL.
The film is coproduit by the French company Paradise-Orly Films and
Shanghai Film Groups. (Source AFP).

By the grace of Wong Kar-wai, the outward journeys and returns in time multiply, the characters replace the ones the others and the witness, hypnotized, is once more subjugated by the images.
Because at the bottom, the history imports little. As in IN THE MOOD FOR COILS,
all the magic of 2046 lies in the visual trap of images at the unutterable one
beauty. Wong Kar-wai does not have his similar to stop time in an idle, to make meet a face and a music, or to install an environment.
One can thus see 2046 as the continuation of IN THE MOOD FOR LOVEcar one finds the character of journalist-writer there, the interiors is always coloured and confined, the sublimated Sixties, the dresses as beautiful as the women who carry them, and the music picked in the traditional Latin-American ones.

The race against the clock took place so that the reels of film arrive in time for official projection In the past, the Small cross already had its batch of cold sweats by proposing in competition works which were hardly finished. Francis Ford
Coppola had arrived in 1979 with three versions of "Apocalypse now ". Roland
Joffé had presented "Mission" in 1986 with a band not mixed yet.
As for the "Taste of cherry", of the Iranian Abbas Kiarostami, in 1997, it was
arrived in extremis, in a version of work, by the diplomatic bag.
A precipitation which is not inevitably a handicap since these three films
raflé the gold Palm.
Would Wong Kar-wai have acted by superstition? The explanation is much
more prosaic, to believe of them Eric Heumann, one of the French coproducteurs of
film: "the reels missed the plane in Bangkok and they will arrive just two
hours before official projection ", it with the Barber explained. "Wonk Kar-wai
never a film finished. It is as these painters who improve unceasingly
their fabric. If there were not the urgency of Cannes, it would be still with its
count of assembly ", said the producer.

Tony Leung, the tempting dandy of 2046, turned on May 12, the very same day of the opening of the Festival of Cannes. He says to have found the catch for his character thanks to... the moustache. "Wong Kar-wai asked me to take again the character of Mr. Chow, the in love stiff one with Maggie Cheung in IN THE MOOD FOR COILS but in very dark, very malicious, in Bukowski. The moustache helped me to believe that I had changed ", told Tony Leung. "My character developed from this
moustache that Wong Kar-wai wanted fine, a little in Clark Gable ".
I play malicious with the face of angel ", it added, a seducer around
some of the most beautiful actresses of the East revolverevolve. "In the real life, I do not have as many women and I avoid the medium of the cinema", known as the actor hongkongais more preceded his generation.
When it discovered "2046" on the large screen of the Theatre Light, Tony
Leung "was moved" and "tested a feeling of confusion". I sought them
missing scenes ". Indeed Wong Kar-wai turned "hundred times more" that one
sees with the screen. As usual, the realizer gave "neither scenario, nor even of indices" to the actors. "It is a great challenge and an adventure", known as Tony Leung. "In the first scenes turned in 1999 in Bangkok, I played" a factor ", then Wong Kar-wai gave up this idea. One thus very started again in 2002. Then the epidemic of SRAS stopped turning during four or five months. It is not easy to work under these conditions ", known as the actor of which it is the 7th collaboration with the realizer.

With those, many, which thought that the film was a "work in progress"
(work in becoming, note) which would be modified after the Festival of Cannes, Wong
Kar-wai answered: "It is the final version. At present my film is
finished. It is the last key applied to the assembly, in any case at May 21, 2004. That lasted four years. It is always difficult to give up something. In the DVD, you will be able to see the scenes which do not appear in film."
2046 are "a film in continuity, of IN THE MOOD FOR COILS. Us
began two films at the same time. But it should not be seen like a continuation. It should be seen while forgetting IN THE MOOD FOR COILS ", has it says.
"the film is a portrait of a person who flees her past. But more one
try to forget more one remembers some. It is thus necessary to live with its past and
perhaps that at the end the memories will leave you ".
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