[菲聞] Indiewire評選出2000年代100部最佳電影

看板FayeWong (王菲)作者justonle (just)時間3月前 (2024/08/15 18:05)推噓1(1推 0噓 0→)

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Indiewire前幾天剛評選出的2000年代100部最佳電影，出乎意料的是2046排名第4（花樣年華第13），楊德昌的一一是華語電影中排名最高為第二。全文如下 https://reurl.cc/zDMnO0 版頭圖（右下有王菲2046機器人造型） https://i.imgur.com/8iXM1VF.jpeg

2046 入選第四，評語如下： 4. “2046” (dir. Wong Kar Wai, 2004) Wong Kar Wai’s only direct sequel is also his single greatest film, although calling “2046” a direct anything could be a misrepresentation of how scrambl ed this inwardly spiraling epic can feel the first time through. Tony Leung’s Chow Mo-wan — now a divorced, mustached, proto-Don Draper type who lives in a Hong Kong hotel and files garbage journalism whenever he isn’t busy negging on showgirls — tries to write his way out of the love story he continues to tell himself about his time with “In the Mood for Love” crush Su Li-zhen. That process is discursive and impressionistic, even by Wong’s usual standard s; if “In the Mood for Love” flirted with symptoms of “Vertigo,” “2046” is so dizzying that it can leave you feeling a little seasick. Points of inter est include a rotating cast of beautiful women (including Gong Li as Maggie Ch eung’s doppelg鄚ger), a timeline that loops around on itself with little warn ing, and even a glimpse at an imagined future where people can take a train to 2046 in order to recapture their lost memories. No one has ever come back. 20 46 is a date, a place, the number of the second-floor room next to Mo-wan’s, and of course the final year of the self-regulated status that China promised Hong Kong at the time of the 1997 handover, but here it always represents a ki nd of oblivion — a point of no return that forever divides what is from what once was. 2046 is the place beyond the mountain in “Ashes of Time,” it’s the infinite minute in “Days of Being Wild,” it’s the lighthouse at the end of the worl d in “Happy Together” and the destination where Faye offers to fly Cop 663 a t the end of “Chungking Express.” It’s where all of Wong’s characters have been hoping to go, and so it’s no wonder that we encounter so many of them o n the way there. “2046” is effectively “The Avengers” of the WKWCU, with L eung and the leftover traces of Cheung (excerpted from “In the Mood for Love ”) giving way to the reappearances of Carina Lau (reprising her role as Mimi/ Lulu from “Days of Being Wild”), Chang Chen, and Faye Wong, the latter three of whom play double roles in a way that acknowledges their dual existences in this film and in our memory. It’s a dense ride, and its emotional tempos are certainly easier to appreciat e for Wong diehards, but while “2046” depends on its director’s previous wo rk in a way that his other films do not, it would be a grave mistake to write it off as bizarro fan service or the stuff of artistic indulgence. The forward -thinking nature of Wong’s cinema can disguise how looking backward is what i t’s always done best, and from a certain perspective “In the Mood for Love” — for all of its ravishing beauty — is more powerful to reflect upon than t o watch. It would almost be a waste of time for Wong to design that pit of qui cksand in such granular detail if he never returned to see Mo-wan sink deeper as he flails around in search of his past. Operatic and sprawling where the similarly unkind “Fallen Angels” was punkis h and serrated, “2046” isn’t a cold film so much as it’s attuned to the ab sence of warmth. The surreal and purposely retro-futuristic sci-fi sequences c ontrast with the airless elegance of the Hong Kong timeline, and Zhang Ziyi de livers one of the greatest Wong performances as a sharp-tongued prostitute who se look took six hours to apply every day, and stays mostly intact even as she follows Mo-wan into the abyss. Wong’s filmmaking reaches mesmerizing new hei ghts as it forges the conflict that sparks between these parallel stories into the key that Mo-wan has presumably been looking for ever since his silent cam eo at the end of “Days of Being Wild.” It’s a key that locks the past in pl ace and opens Mo-wan to the possibility that memory is so valuable to keep bec ause people can only be borrowed. It’s a key that allows him to see that noth ing can ever be exactly as it was, even (or especially) if it was never that w ay in the first place. It’s a key that bears the number 2046. —DE -- ※ 發信站: 批踢踢實業坊(ptt.cc), 來自: 46.232.120.229 (香港) ※ 文章網址: https://www.ptt.cc/bbs/FayeWong/M.1723716318.A.5C4.html