Director Wong Kar-wai has always been good at combining words and images in processing and showing emotions, and skillfully using subtext and camera language. He doesn't like direct and vulgar expressions, but he doesn't deliberately pursue pretentiousness.
Artistically distills the various flavors of the world, and then makes them bloom in the depths of the audience's soul.
In many of his works, he has always focused on the relationship between the sexes and the emotions of the characters. "Flowers", as his latest masterpiece, brings this style into full play.
Although the whole play never presents a fierce kiss scene or bed scene, through the penetration of various hidden charms, the audience can understand the relationship between the characters.
Director Wang's meticulous carving and the unique artistic temperament of the work itself have been fully demonstrated in it.
Mr. Bao and Miss Wang: The incomplete reflection of sincere emotions.
Most viewers believe that Mr. Bao and Miss Wang are the most affectionate partners in this drama. Not only have they worked together for many years, but their business relationship is inseparable, and in this long interaction, they have long gone beyond the status of ordinary business partners.
Miss Wang, in particular, almost regards Mr. Bao as the most important support in her life.
When it comes to Mr. Bao, her eyes will flash with a warm and dazzling light, and this sincere projection is probably unparalleled.
However, step by step, we can also find many cracks in the "Golden Eight Dazzling" combination. Most of these tiny gaps come from Mr. Bao's side.
Perhaps he had experienced a period of youthful sweetness with Miss Wang, but as time went by, the ups and downs of the mall made him more and more shrewd and sleek.
Obviously, Mr. Bao made no progress in this relationship, and this anxious hesitation directly crushed Miss Wang's innocent heart.
So, what is the meaning hidden in it?
On the surface, Mr. Bao's inner world seems to be much more complicated than we imagined.
Because his burden in the past was too heavy, he couldn't open his heart to Miss Wang without reservation. These inextricable knots made it impossible for him to devote himself to his sincere feelings, and it was difficult for him to calmly face Miss Wang's fiery gaze.
There may be too many considerations for the trade-offs of reality in Mr. Bao's philosophy of doing things, on the other hand, he will not make decisions that damage the foundation because of a momentary emotional impulse.
Therefore, once he realized that the various differences between himself and Miss Wang were irreconcilable, he began to quietly distance himself from her. After all, in his mature mind, feelings are just a little dust in the red dust of the world.
Miss Wang is different, she is naturally straightforward and honest, as if she will not be afraid even if she hits the south wall. Therefore, on the occasion of parting, she suddenly gave Mr. Bao a warm hug.
She used all her strength to defend the last struggle of this true love, and that moment of impulse was probably it. But in the end, she also understands the cruelty of reality. So, in the second when Mr. Bao was confused, he left in a hurry.
Heartbreak foam spread all over the place, and the air gradually cooled.
There is a unique ambiguous temptation between Mr. Bao and Li Li.
In addition to the time bomb with Miss Wang, a subtle ambiguous relationship between Mr. Bao and Li Li also slowly sprouted. Perhaps it is precisely because of the similarity and difference in the personalities of the two that this wonderful relationship has been promoted. Just like Mr. Bao, Li Li is also a person with a deep sense of the city, and they can often tacitly reach some unspoken consensus.
Perhaps it is this tacit understanding that makes this couple particularly attractive. However, it is worth mentioning that both of them are very independent and are not very willing to show each other's emotional needs.
Therefore, this tentative ambiguity may or may not be progressive. It's like an improvisational performance full of new ideas, leaving a lot of room for people's imagination.
Mr. Bao personally cooked and developed a new signature dish for Li Li, a small shop on Huanghe Road for the first time, which is undoubtedly a significant signal. As a leader on the whole road, Mr. Bao's identity will never allow him to easily contribute so much effort to a small shop. This shows how much he values and pays attention to this store.
What's more, the name of this dish, "Stir-fried Dried Beef River", itself also implies the pun of "good things are coming". However, when Mr. Bao was cooking this dish, the whole person was full of interest, and his eyebrows were dancing.
This state of caution and unusually devotion to Li Li has carved a unique place in his heart.
However, the subsequent series of events in Mr. Bao's car confirmed this more clearly. Li Li tossed and turned in the car, posing in various poses, and the long fake sleep sent a vague and clear signal to Mr. Bao.
Mr. Bao has always been very serious about driving, and from time to time he observes her sleeping position from the rearview mirror. This way of switching pictures and detailed depictions has obviously surpassed the director's performance of the relationship between ordinary friends.
The two sat in the car, and the ambiguous atmosphere between them could almost be touched, as if it was a sign that the relationship was about to usher in a new turning point.
When Li Li and Mr. Bao finally separated, even though they didn't say it, we all knew that there would be some ineffable progress between them.
This subtle subtle allusion is typical of Wong Kar-wai's work, where the two are just smiling at each other.
The play uniquely shows a subtle hinting technique.
Wong Kar-wai is more adept at using seemingly unrelated scenes or subtleties to imply more intimate events or changes in gender relations in all the language of cinematic shots.
This explicit and implicit approach adds another dimension of charm to Wong's films, requiring the audience to make an extra effort to guess what the director is trying to convey.
When the audience guesses this subtle cue and feels the resonance, it usually derives more spiritual pleasure from the interaction.
For example, the sleeping scene between Mr. Bao and Miss Wang in the car seems monotonous, but all kinds of strange details contained in it convey some kind of hidden information to the audience. Naturally, this also includes hints that the relationship between the two may take a new step.
A series of seemingly unrelated picture transitions between Xue Zhi and Mr. Bao on the bus, with all kinds of ambiguities between the lines, are undoubtedly deliberately awakening the audience's reverie.
The atmosphere created by these shots is usually more likely to evoke people's inner shyness and throbbing than direct depiction of ** scenes.
Wong has always avoided vulgar and direct approaches in his descriptions of sexual relationships, preferring instead to use subtle, elegant, and meaningful expressions.
The audience needs to savor it, ponder it carefully, and try to piece together those real or illusory images in their minds. This beautiful way of guidance is also one of the core reasons why many old fans respect Wang's.
Analytical techniques to analyze the connotation of oriental aesthetics.
Placing Wong Kar-wai's cinematic techniques in the context of classical oriental aesthetics, we will find that this is a typical artistic conception of artistic expression.
Artistic conception refers to revealing infinite meaning in limited things, triggering people's infinite associations and reverie. Triggering the whole picture through one point, seeing the big picture from the small point is the core of the artistic effect. This coincides with Wong Kar-wai's "hinting" technique.
Under his lens, we can often infer from a small seemingly ordinary picture the possibility of the relationship between two people heating up, or some more hidden developments.
This ingenious technique allows the viewer to reverie in a limited time and space, stimulates endless imagination, and perfectly demonstrates the artistic effect of "environment business".
Wang's extensive use of this kind of technique in his films highlights the quintessential Chinese aesthetic that he carries deep down, a charm that mainstream Western cinema does not have.
It is inspired by the use of "blank" artistic treatment techniques in classic Chinese gardens and painting theory, with far-reaching meanings and rich artistic conceptions!