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Joined: 14 Apr 2008
Posts: 662
Location: roma, italy

PostPosted: Wed Nov 05, 2008 1:26 pm    Post subject: ON WONG KAR WAI

Hi everybody,
talking with my friend Safran I had the chance to analyze WKW filming.
This what I come up with.
WKW has great eye for of sensuality. His actors are not really beautiful, but they appear the hottest of the hot. He wrings extreme sensual performances from them. He talks about the agonies and intricacies of inner feelings, making them something visual. I don’t like him very much. First, he never lets you forget that his are “art” films. Second, his characters are always in so much pain, and for sooo long. Nobody stalls in pain that long. Everybody changes, go on with life, so his films are not that realistic. But (there is always a “but” somewhere) it can mean that when someone feels pain, it seems endless. Moreover, I like his vision. He dissects human emotions like insects under a magnifying lens, with extreme care. I like his locations. They are all suffocating, also when they are in open spaces, like in AoT. Why is it? I think that they are soul places, so they are claustrophobic.
The "But" factor: WKW doesn’t show you places and characters. They are all shades of the soul. The actors go back and forth, like our minds do when we have to digest news difficult to grasp: now that my daughter is going, I’m asking myself who I am, what is my place in this new family balance, but I did some of the same when we discovered my husband’s illness, when my daughter was born, my dad died and so on and so forth. Those periods of elaboration are paaainfuuul aand loooong. That I remember. So the WKW characters are not real people, real places, they are metaphisic characters and places. WKW’s is a metalanguage. People represents states of mind, the places are stuffed angers, boxy feelings, unability to express, the effort to keep the control (on that I just can say “Ha!”).
The Kat on a Hot Tin Roof
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Joined: 14 Apr 2008
Posts: 662
Location: roma, italy

PostPosted: Fri Nov 07, 2008 12:36 am    Post subject:

Hi again.
Talking to a friend is a good way to analyze things. You have to put your thoughts in words, so they become clear to you too.
If I am right, and I'm not sure at all, so if, this explains why it is so difficult to work with WKW. Why Kimura wanted to claim himself off. Why Maggie was unsettled at the beginning. This can explain why there is no script and why WKW cuts away all those beautiful scenes. The actors go there thinking they are representing people and their histories. WKW is striving for a visual representation of emotions and states of mind. The "unfocused fights" of Ashes of Time", for example, are how we could remember them after the rush of adrenaline wore off, I mean, how we could see them with our mind eyes, and not actual fights.
Difficult, difficult, difficult
Musing Kat
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Joined: 22 Mar 2006
Posts: 1322
Location: Austria

PostPosted: Fri Nov 07, 2008 7:14 am    Post subject:

Hi Kat - I am still here and just read your train of thought. Sorry, I do not understand exactly what you mean.

Sometimes I think WKW´s movies are like a journey into our own Labyrinth of "underconsciousness (?)" and somtimes I see it more simple/
easy: As wonderful visualized stories of different kinds of love and loss in context to time (we often miss or ignore the most important moments in meetings, life )

I don´t know - Maybe we see it too mysterious and complicated. ("Freud - damaged ")

In contrast to WKW- but also yet the same (only other medium) are Haruki Murakamis mysterious novels. Seem written clear and simple but are they ?

I adore this soul magicians - and the outstanding actors like Tony, who can transmit such strong emotions, to think about and touch us "ordinary people".
(hope you understand what I mean)
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