A personal diary keeping people abreast of what I am working on writing-wise.

Saturday, October 23, 2004

AND TIME IS AGAINST ME NOW

If I could be Wong Kar-Wai, I would be. I would take that opportunity if it came. There are few people I respect so much in the world today, who follow their crazy ideas and somehow manage to make it work, despite all odds. He works his camera the way a novelist works with words, changing and diverging and revising. Most filmmakers can't afford to toss film away, but Kar-Wai will make three or four films on his way to the one he lets you see.



It goes without saying that as soon as his newest film, 2046, showed up on eBay, I was all over it. The discs came out in China within a week of the film opening, an attempt to combat rampant bootlegging over there. It turns out patience would have been a virtue. This was a Face release, and they are known for having their logo pop up at regular intervals (this time, unlike their more subdued product placement on their extended Hero DVD, showing up in three separate pieces coming from three separate corners), and since it is the mainland version, Cantonese speaking characters, including Tony Leung's Chow Mo Wan, were dubbed into Mandarin. But those are small prices to pay to see the movie I was looking forward to more than any other this year.

Thank goodness I wasn't disappointed! I am drunk with the love I have for 2046. As a narrative, it is a chapter in an ongoing project that now encompasses Days of Being Wild and In The Mood For Love. It finds Chow after the failed affair of In The Mood. He has turned himself into a callous womanizer, escaping from his personal pain in the science fiction he now writes. As we watch him stumble through several relationships, we also get a glimpse of the literary world he is creating. In the future, there is a place called 2046. People take a train there to retrieve their lost memories, but no one knows quite how it works since no traveler has ever returned. 2046 also happens to be the number of the room in the hotel next to his, which is the room where he and Su Li-zhen (Maggie Cheung) would retire to in In the Mood to have their faux affair and write their martial arts serials. As a further nuance, it's the last year Hong Kong rules itself.

Kar-Wai has always been obsessed with time and how it weighs on people. In 2046, he creates three timelines: the late '60s world of Chow Mo Wan, the future world of his fiction (a fiction within a fiction), and the present world of the viewer. The third element is important, since Kar-Wai always demands a certain level of involvement of his audience. You can't be a passive viewer, you have to get completely inside the narrative and puzzle it out. Though 2046's lines are more clearly delineated than Kar-Wai's more ponderous efforts, it still shifts subtly. If you aren't giving it your full attention, you will rejoin the film in a completely different place than where you left it.



The other pervasive theme in all of Kar-Wai's films is the transience of human connections and the pain that comes from missed opportunities at love. Circumstance gets in the way far too often. In 2046, Chow engages in three significant relationships: the call girl played by Zhang Ziyi, the hotel owner's daughter played by Faye Wong, and the mysterious gambler played by Gong Li. Each encounter dissolves because the lovers can never get on the same page with one another. When Chow is loved, he plays the cad; when he is in love, he loses; when both participants are in love, it can never be thanks to ghosts from the past. They move in and out of one another's lives with a poetic sense of tragedy, and Kar-Wai's editing creates a melody of heartbreak. In much the way a novelist can create a symphony of emotion with words, Kar-Wai's camera delivers an impact beyond the action and dialogue.

The image that still resonates the most with me is when Faye Wong's character Wang Jing Wen asks Chow to rewrite his story with a happy ending for her. He sits down at his desk and days pass, his fountain pen poised above the paper like a needle waiting to come down on a record, and he can't write a line. He doesn't know how to write his way to happiness.



A movie of a different kind that also says something about artists unable to dictate the path of their art or, consequently, their life, is the documentary DiG!. DiG! is a chronicle of two bands, the Dandy Warhols and the Brian Jonestown Massacre, who begin as friends and end up as rivals, with one band finding far more success than the other.

It's the Massacre that ends up off the rails. The passionate drive of the band's leader, Anton Newcombe, to cause a musical revolution is both their most alluring component and their most dangerous. Anton accepts no compromise, not in any aspect of life. His attitude leads to fights, hissy fits, and delusion. His refusal to work within the system makes for a much more treacherous route for his band, whereas the Dandys' willingness to go for it eventually affords them an ongoing career. Their guitarist, Pete Holmstrom, has the key line of the movie when he says that in order to lead a revolution, you eventually have to take it overground. Staying underground changes no one. (Not surprisingly, Anton is now disavowing this movie, and if you're interested, go to the band's site to read why. The reasons are valid.)

If the film has a failing, in fact, it's that it doesn't explore Pete's statement enough. The filmmaker--and indeed, everyone in the movie--is so hypnotized by Anton's self-destructive antics, it almost feels like the Dandys are just a footnote. There is an implication that their success proves Anton right. Their label does a poor job of marketing, and the band nearly goes south, before a fluke commercial opportunity overseas, which the band follows up with relentless touring, leads to a long-term triumph. It was only be sticking to their guns and not letting the bean counters dictate everything that pushed them through.

So, DiG! beggars the question: is it better to never accept compromise and slave away in continued obscurity, or do you give up a little to exploit opportunities when they come? Is it better to revolutionize nowhere, or to change a corrupt somewhere? Or in the terms of 2046, do you stay true to yourself and isolate your heart, or do you shove that pen down and write "and they lived happily ever after"?



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[to leave comments, click on the time-stamp below, then scroll down on the new page] – All text (c) 2004 Jamie S. Rich

1 comment:

Anonymous said...

dammit! now i wanna see Days of Being Wild, In The Mood For Love and 2046! its soooooooo all your fault ^__^ -aki