His lair is a sparse room in a rather seedy Hong Kong hotel. The once-noble journalist has devolved into a wily roué and a shameless hack, bedding his many babes and discharging his purple prose with the same smiling insouciance. Now it's several years later in the mid-sixties and his character, Mr. In the Mood for Love, where, you might recall, he partnered Maggie Cheung in a profoundly cool dance around the hot fires of adultery. Yet all of them, drenched in the atmospheric imagery of cinematographer Christopher Doyle and peopled by a who's who of Asia's leading women, are gorgeous to behold. That's because one of the stories is so compelling, so poignantly exquisite, that it dominates the others, which, by comparison, can seem redundant or confusing or both. But here, in an elegiac study that spins four linked narratives through separate time frames, the fulcrum looks misplaced and the balance feels marginally out of whack. Wong's entire canon is a prolonged meditation on the recurring themes of memory and loss, especially love's labours lost. Is this just a case of the perfectionist never being satisfied, or does it speak to a specific problem that wouldn't go away? More the latter, I fear.
#Crossword editor will wong movie
The titan in question is Wong Kar-Wai who, judging from reports, has been tinkering with this movie since its appearance at the Cannes festival two years ago. The result is the rare kind of picture where the cracks in the brilliance merely confirm the shine. Only a master director could make such a beautifully flawed film.Ģ046 sees a cinematic giant at the height of his powers and yet, ever so slightly, spinning his wheels.
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