Spring breaks out at first, it is better to start over after 20 years.

May, for fans, is the month of Cannes. Looking back on the glory of the Chinese at the Cannes Film Festival, we must not forget the Spring break 20 years ago, which is considered by many to be the most technically mature work of Wong Kar-wai, which also won him the best director award in Cannes that year and ranked as a world-class director. Not only that, with time, the "Gay" film, which caused controversy in the Chinese-speaking world, became too legendary with the death of one of the leading men, Leslie Cheung.

Last year, Wong Kar-wai re-screened the film in Xining. He talked about how he tried to escape the cramped atmosphere in Hong Kong on the eve of 1997 and came to a foreign country. I went to Argentina because I liked football. The joke generally used the names of two assistant photographers, and the shooting cycle was delayed, again and again, resulting in a work, which attracted countless fans to mourn and sigh. Come and go, sighing in a trance, suddenly twenty years have passed. Today, when we review the sudden release of Spring, we might as well put aside the legendary fog and nostalgic feelings and ask ourselves: what do we miss when we miss the sudden outburst of spring?

Wong Kar-wai at the award ceremony of the 10th FIRST Film Festival

it is well known that Wang's films never tell a complete story, or even have a fixed script, but his works are full of literary colors. You can see the shadow of contemporary writers such as Haruki Murakami and Lawrence Bullock in his films. If we use literary schools as an analogy, there is no doubt that Wong Kar-wai is a modernist writer, and his films can be said to be full of traces of stream-of-consciousness novels. The characters in Wang's lens love monologues, and the fragmented murmur has a strong literary color; their behavior is often dominated by the flow of consciousness, which seems illogical; the editing rhythm is very fast, which is called "intuitive editing consciousness".

those who are familiar with him should also know that Wong Kar-wai has repeatedly mentioned the influence of Hong Kong writer Liu Yicheng on himself, and the shadow of the novel "the alcoholic" and "upside-down" can be seen in several of Wong Kar-wai's works. Interestingly, Liu Yicheng is also considered to be the first stream-of-consciousness novel in Chinese literature.

Liu Yicheng

Spring is a film full of a man's words and broken emotions. strictly speaking, the film has only one absolute hero, that is, Li Yaohui. Others exist in Li Yaohui's monologues and memories. The main line of the movie is the story of Li Yaohui returning to Hong Kong halfway around the world. I can't help thinking of Homer's "Odyssey". The Odyssey finally returned home after ten years of danger and obstacles. This is the heroic myth left to us by Homer in ancient times.

of course, Spring is not a film to sing the praises of heroes, and the return of Li Yaohui is not worth singing about. If "Odyssey" is a heroic epic of the classical era, and "Ulysses" is a genre painting of modern life, then "Spring burst" can be regarded as a collage and newspaper clipping of a post-modern city. The film's protagonist's state of "alive but sick" (from the "Zero degree Celsius" interview) is the urban illness under the Hong Kong 97 complex, a person's way of return after the mental and physical exile. The protagonists live in a strange city, and they further widen their distance from society (Hong Kong) and family in terms of physical and psychological time and space, strengthening their already strong sense of rootlessness and drifting.

Li Yaohui (Tony Leung)

the journey home is so long that it makes people think that he will never return. Some people stay in a foreign land forever, but the characters in the movie live forever. He Baorong, Li Yaohui, and Xiao Zhang each have their destinies, either they are fallen and lost, or they go astray, or they go around in circles. In Spring, emotions and a few words are intertwined in the different colors of time and space constructed by the film.

the careful selection and deliberate construction of the modern urban environment are not only the important means for Wong Kar-wai to peel off modern urban mythology but also his true understanding of the living conditions of modern urbanites. Under the camera lens, the city has become a piece of space without a sense of integrity and stability. Spring leaks chose to shoot on the other side of the world, deliberately making a distinction between space and Hong Kong, but the result is obviously that the farther away it is, the more it exists.

the repeated passports of he Baorong (Leslie Cheung)

represent identities, and passports appear at the beginning. Whether identity is important or unimportant to these two marginal people, giving up or pursuing, the film gives different people's choices. Li Yaohui hid Baorong's passport as if it was the only way to get his lover's sense of security.

the anxiety of identity pervades the whole movie, and the repeated appearance of Argentines speaking foreign languages that they do not understand, and friction with the protagonist from time to time, aggravates the sense of alienation that the protagonist can not fit in with. Only in the room, when two people who love and kill each other face each other alone, do they have a moment to belong. I don't know if it was deliberate or not, there were several dinners in the movie, all Chinese food. The identity issue that Hong Kong people have in mind is not dispelled but magnified at the end of the blurred world of love.

the clock is a commonly used prop in Wong Kar-wai movies. Magnifying the passage of minutes and seconds to eternity is the signature of Wang's movies. This movie also appeared with a clock, the clock always reminded us not to forget time, with every jump, time goes by another second, and the inevitable always has to face. The rhythm of the camera plays with the psychological time of the audience, speeding up the camera, slow motion, and freeze. In shaking and movement, the time of the audience reaches the same rhythm as the inner jump of the protagonist.

after the breakup, Li Yaohui picked up a pen and wrote a letter to his father. Maybe his father represented the root that he wanted to escape but could not escape. In the Chinese Hotel in Buenos Aires, people play mahjong behind closed doors, as time stops, and they never seem to leave their country. I left my hometown and came to such a distant place to leave the past behind, and the past is like a shadow.

whether it is the Chinese name of "Chunguang first leak", or the English name happy together, both names give people a sense of carnival, and after the carnival return to daily life, the arrival may be nothingness. The protagonists in Wong Kar-wai movies are rebellious and unruly, do legless birds, often end up dead or missing, or fall into nothingness and will suffer in a long life. In the end, the director gave the audience a big question mark whether it was a first-time joy or a long-term pain.

as a director who likes to use passwords, in Wong Kar-wai's films, all projections and metaphors are self-consistent. You can also say that the motif of his film has never changed, completely stubbornly thinking that Baorong is the reincarnation of punk; Li Yaohui is like a healing 633, licking the wound in the sadness of being lovelorn, and Xiao Zhang is a bright touch of bleak life, is the younger he Baorong, such a simple and cheerful role is an indispensable supporting role in Wong Kar-wai films.

this film is inevitably labeled as a political metaphor. The fate of the two people seems to symbolize the two choices of the people of Hong Kong. Of course, you can also say that the final breakup between the two symbolizes the disintegration of Hong Kong-British relations. Represents the past is left behind, followed by no one can predict the future. Or maybe it's a romantic film that has nothing to do with homosexuality, a collection of all the crumbling loners in the world. Even, the film fundamentally alludes to the common faults of urbanites, love, and indifference, escape and forget. Perhaps Wong Kar-wai himself is not very clear about what he wants to make in this film which can be interpreted infinitely. There is so much material that we can edit another film, and then in the documentary "Zero degrees Celsius", we can imagine how tortuous and complicated the unfinished work is.

it is said that the original story is also about the mysterious woman played by Shu Yi and the exchange of identities between Li Yaohui and Baorong. In these deleted clips, Wong Kar-wai originally intended to build a more complex city of love for us. Those deleted images are vague existence that you can't remember clearly in the old days, which is specious and makes people fall into a dream.

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Guan Shuyi

Wong Kar-wai broke the original idea and overturned his story again and again, and all the cast members suffered from homesickness. We can't get a glimpse of the whole picture, but all the emotions have been brought into the current version. Still having to go home, Xiao Zhang went to the end of the world, and want to go home, Li Yaohui saved enough money to go home, and he said he knew that Xiao Zhang can wander here because he knows he can go back. The film never explained what would happen in Hong Kong, and it came to an abrupt end on the eve of Lai Yaohui's return home. He sat on the high-speed MRT with the theme song Happy Together in his ear and looked relaxed.

as for what you are waiting for when you get home, Li Yaohui's monologue said, we'll talk about it then. After all, maybe it's better to start all over again.