Fallen Angel, Wong Kar-waiThe Fallen Angel was written and directed by Wong Kar-wai. It was released in China Hong Kong on September 6, 1995. The main actors included Dawn, Lee Jiaxin, Takeshi Kaneshiro, Cecilia Yang, and Karen Mok. The film tells the story of the love entanglement of five men and women named "Angels" in Hong Kong.
The film was very unique in terms of cinematography and artistic expression. Wong Kar-Wai's official cameraman, Doyle, used a lot of wide-angle lenses in the film, so that the characters were very close to the camera. The depth made the two people standing close to each other look very far away, hinting at the strangeness and alienation between the characters in the film. When the characters really broke off their relationship, they used a telephoto lens.
In terms of the plot, Angel One (Li Ming) was the killer, and Angel Two (Li Jiaxin) was responsible for arranging missions for him. Angel One thought that partners should not have emotional entanglements. The two had a tacit understanding for many years, but they barely met each other. Angel Two had a crush on Angel One. Angel No. 3 (Kaneshiro Takeshi) was an aphasiac who often broke into his house to steal and force people to buy and sell. Angel Five (Karen Mok) had a one-night stand with the killer. The characters in the movie had their own loneliness and illness. For example, the character played by Lee Jiaxin solved her loneliness by massaging herself, the character played by Karen Mok used exaggerated behavior to attract attention, and the character played by Takeshi Kaneshiro had some strange behaviors such as massaging pigs.
"The Fallen Angel" won the Best Cinematography Award and Best Original Film Music Award at the 15th Hong Kong Film Awards. Karen Mok won the Best Supporting Actress Award for this film, and also won the Best Art Design and Best Editor Award at the 32nd Golden Horse Film Festival. As of November 2023, the film's box office in Hong Kong was 163,100 US dollars, and the global box office was 251,100 US dollars.
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Wong Kar-Wai, The Story of HoodlumOne of Wong Kar-Wai's films was the Hong Kong film 'The Story of Hoodlum' which was released in 1994. The movie was directed by the famous director, Sunglasses King, and starred in actors such as Zhang Guorong, Yang Caini, and Liang Jiahui.
The True Story of Hoodlum tells the story of a young Hong Kong man, Hoodlum, who pursued his love and dreams in the 1980s. Hoodlum was a free-spirited young man with a strong personality and a desire for freedom. He had met many different women in the city, including Lin Xian `er, Zhou Wenjuan, Ah Mei and so on. He continued to pursue his dreams, but at the same time, he experienced many setbacks and difficulties.
At the end of the movie, Hoodlum finally understood what he was pursuing. He got together with Lin Xian `er and gave up on his own pursuit to return to reality. The whole film was featured by delicate emotions and deep thoughts, portraying the image of a young man full of vitality and enthusiasm, while also reflecting the style and cultural characteristics of Hong Kong society in the 1980s.
Wong Kar-Wai's Movie Heroes'A Better Life' was directed by John Woo, not a film by Wong Kar-Wai. This film was the turning point of John Woo's career as a director. Not only did it sweep away his previous haze, but it also created a new era of Hong Kong films.
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The characteristics of Wong Kar-Wai's movie linesWong Kar-Wai's movie lines had the following characteristics:
** 1. Rich in philosophical charm **
Many of the lines in the movie were very philosophical and made people reminisce for a long time. These lines often touched the hearts of the audience and triggered deep thinking.
** 2. Unique style changes reflect the change of character experience **
From the non-self to the self and then to the anatta, this style was reflected in many representative films directed by Wong Kar-wai, such as Carmen in Mongo, In the Mood for Love, Ashes of Time: The Final Cut, and The Grandmaster. For example, the lines of " Carmen in Mongols " reflected the characteristics of Hong Kong's transforming society, reflecting the psychology of the people in a state of choice, contradiction, rootlessness, and alienation.
** 3. Massive use of monologues **
1. The psychological presentation of male characters
- The male characters in the movie, such as Hoodlum, policeman, and killer, had their psychological feelings and spiritual secrets directly reflected through the monologues of the characters. These male characters often had a lonely and autistic personality, longing for love but wavering in communication.
- In " The True Story of Hoodlum," male characters like Hoodlum Xuzai expressed their feelings of life and love through monologues, such as " You and I were together for one minute before three o'clock in the afternoon on April 16th, 1960. Because of you, I will remember this minute." From now on, we are friends for a minute. This is the truth. You can't change it because it's already in the past."
2. Express the author's life experience
- Although the monologue was the character telling the story, it also expressed the author's life experience. All the narrators could be seen as the messengers of Wong Kar-Wai's spirit. For example, in the monologue of Cop 223 in Chongqing Forest," Every day you have the opportunity to brush past many people, and you may not know anything about them, but maybe one day they will become your friend or confidant." It not only reflected the loneliness of the character, but also conveyed Wang Jiawei's understanding of interpersonal relationships.
** 4. Reflection of sensitivity to space-time transition **
The lines could be skillfully matched with the time and space transition, allowing the audience to feel the cold social situation of Hong Kong's desert at that time through the lines and the time and space transition, even in the lonely sandbar scene of " Ashes of Time ".
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Wong Kar-Wai's Position in the World of DirectorsWong Kar-wai's position in the directing world was unique and important. His unique film style and personal creative style attracted much attention and had an impact on the world. Wong Kar-Wai's films demonstrated his deep understanding of the human spirit and his mastery of the art of film. Not only did his films achieve outstanding results at the box office, but they also won numerous awards at major film festivals, winning international reputation for Chinese films. Wong Kar-Wai's films had a unique style. Every film had its own original elements. His strong and distinct personal style clearly distinguished him from other directors. He had created many classics with his unique narrative style and was regarded as one of the most personal and colorful directors in China. In general, Wong Kar-wai had a unique position in the directing world and had played an important role in the innovation and promotion of Chinese film styles.
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