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[FILM] Wong Kar-wai's "2046"

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  • chiayuan25
    Guardian Unlimited Film It was like being in jail It has taken four years and a lot of editing, but 2046 is finally ready for its UK premiere. Wong Kar-wai
    Message 1 of 1 , Sep 27, 2004
      Guardian Unlimited Film
      'It was like being in jail'

      It has taken four years and a lot of editing, but 2046 is finally
      ready for its UK premiere. Wong Kar-wai tells Howard Feinstein why
      making it was so traumatic

      Howard Fernstein
      Tuesday September 21, 2004
      The Guardian

      The Edinburgh film festival's loss has turned out to be London's
      gain: the UK premiere of Hong Kong director Wong Kar-wai's 2046.
      After the film's debut in Cannes in May, Edinburgh, with the blessing
      of UK distributor (and 2046 pre-buyer) Tartan Films, announced that
      it would be the closing night presentation. The news came as a
      surprise to the movie's sales agent, Fortissimo, which had been
      turning down festival invitations in other territories. "Edinburgh
      was never planned by us or Wong Kar-wai," says Fortissimo co-
      president Wouter Barendrecht. "We always knew that the film would be
      delivered just before the opening in Asia in early October." Only a
      week before Edinburgh began, the festival was forced to announce that
      it was replacing 2046 with E J-Yong's Korean film, Untold Scandal.
      Tartan had to change its release date from October 15 to early 2005.

      The story of the production's tortuous progress toward the screen is
      nearly as dense as that of the film itself. Wong, the lanky geek with
      the signature silver-rimmed shades, began shooting four years ago. He
      went through three cinematographers: Wong regular Christopher Doyle
      had to move on to another production. "You have to realise that 80-
      90% of those four years were spent waiting," says Wong. "We had to
      wait during the Sars epidemic, because many of the crew members had
      to go back to their home countries. We had to deal with revised
      actors' schedules, permits and locations." He grins. "Having nothing
      to do for so much of the time was a problem. It also gave me a lot of
      time to think about changes, so I did a lot of reshooting."

      Then there was Cannes. Wong arrived with a bang. At the very last
      moment, he hand-delivered reels of the $15m feature, the festival's
      most eagerly anticipated movie. He had been in Paris working on
      computer-generated imagery (CGI), in order to create a composite of
      the background from material shot in different regions of Asia. The
      festival even had to shove the press screening of Olivier Assayas's
      Clean to another slot to accommodate 2046. In spite of the
      accusations of a publicity stunt from some quarters, Wong remained
      hopeful. "If I'm so lucky to get the Palme d'Or, we've worked so
      hard, I think we would deserve it," he said at the time. Happy
      Together had earned him the best director award in 1997, and Tony
      Leung was named best actor in 2000 for In the Mood for Love.
      Unfortunately, Wong and 2046, arguably a masterpiece, left Cannes
      with a whimper - and prizeless.

      After the festival, Wong returned to Paris not only to work further
      on CGI but - at first in secret - to re-edit the film. To make
      Cannes's deadline, he had to cut out some scenes that have
      subsequently been reinstated. Rumours of further reshooting also
      surfaced, but they were unfounded. "The stars gathered in Hong Kong
      to shoot publicity photos and poster images," says Barendrecht.

      Even some of 2046's biggest fans have found the plot extremely
      difficult to follow, though a second viewing clarifies things. Set
      mostly in the 1960s, 2046 - the Cannes version - comprises three
      intersecting stories. The linchpin is Chow, played by Leung, who is
      reprising his character from In the Mood for Love. In the earlier
      film, set in Hong Kong in 1962, Chow, who takes a stab at writing
      martial arts novels, presumably never consummates a mutually
      sublimated affair with Maggie Cheung's Su Li Zhen, although they know
      that their spouses are seeing each other. Frustrated, he leaves for

      In 2046, Chow has returned to Hong Kong, but this softspoken man has
      become a hedonistic, mustachioed sleazeball. He has numerous one-
      night stands and earns extra money hosting dinners for low-lifes and
      letting out his room to their women. Still a writer, Chow is in the
      midst of penning a science-fiction novel set in the year 2046 - hence
      the title - on a train where people go to recapture their lost
      memories, but never return.

      As the film unravels in non-linear fashion, we realise that he is
      trying to forget another Su Li Zhen (Gong Li), a gloved, one-handed
      gambler with whom he had been involved in Singapore. She is the
      film's past. In a seedy Hong Kong hotel where room 2046 is loaded
      with meaning (it had been the rented room where Wong wrote in In the
      Mood for Love), several women represent the present, mainly Bai Ling
      (Zhang Ziyi), a ballroom dancer/prostitute who stops turning tricks
      out of love for him, but also Wang Jing Wen (Faye Wong), the
      owner's "decent" daughter who is in love with a Japanese man.

      The future, a visualisation of Chow's novel, features Faye Wong
      again, this time as an android, with Wang Jing Wen's Japanese lover
      (Kimura Takuya) as Chow's alter ego. Wong, with help from Fassbinder
      composer Peer Raben, attaches a type of music to each of the women:
      blues for Gong Li, 1960s dance music for Zhang Ziyi, and classical
      for the Faye Wong of the future.

      If the plotline seems circuitous, blame it on the late Argentinian
      writer Manuel Puig, whose novel The Buenos Aires Affair became, in
      Wong's hands, Happy Together. "He changed my thinking about story
      lines," says Wong, who began his career as a screenwriter and script
      doctor. "For example, the story in The Buenos Aires Affair is very
      simple, but nothing is in order. The altered order changes the
      significance. And you learn more because of this order. When people
      ask me what directors influenced my film-making most, I tell them I
      learned from many, but the person who's been most influential is

      Wong also says he intended 2046 to have the feel of a diary (faux-
      literary title cards punctuate the film). He was inspired by the
      Chinese author Liu Yichang, who emigrated to Hong Kong in
      1949. "There he wrote 20,000 words a day. Twenty years later, he
      published all of his work. It is a huge book, but like a diary. It
      manages to tell what has happened to Hong Kong in that period. And
      film itself is always related to changes in society."

      The title 2046 is more than a room number or the year in which Chow's
      sci-fi novel is set. "Hong Kong went back to China in 1997," says
      Wong. "The Chinese government promised Hong Kong 50 years without
      change; 2046 would be the last year of this promise. Will there be
      change?" He is quick, however, to note his priorities. "It was never
      my intention to make a film about politics. I'm interested in people.
      This is a film about someone who wants to change." That someone is
      Chow. "He's trying to forget about his past. The problem is, the more
      he wants to do that, the more he realises he remembers. Things just
      keep coming back. He's made a lot of mistakes. The only thing left is

      Chow lives in a state of perpetual loneliness. Wong, now 46, can
      empathise. His parents have passed away; his brother and sister were
      forced by the cultural revolution to stay behind in Shanghai after
      Wong emigrated to Hong Kong in 1963; and his wife of 17 years,
      Esther, and nine-year-old son, Cheng, spend a lot of time in New York
      with her relatives. Maybe he compensates with his group of recurring
      cast and crew members - his other family.

      Gong Li is riveting in the film, even though the diva has only 10
      minutes of screen time. During the lull in production caused by the
      Sars outbreak, Wong worked with her on his excellent, somewhat kinky
      section of the short-film triptych Eros (Antonioni and Soderbergh
      directed the other episodes). In The Hand, the diva's hands serve a
      masturbatory function for Crouching Tiger's Chang Chen. After
      filming, Wong asked Gong Li if she would consider playing the
      gambler. "I told her it was a tricky part. After five minutes, she
      told me she would do it. So I sent her to a casino in Macao and she
      started gambling. She would go there every night with her handbag of
      cash. Actually, we shot more than 10 minutes, but we had to have the
      film ready for Cannes, so I had to cut much of it. I hope someday I
      can make a film about her, this gambler, and the writer, still played
      by Tony." Would Gong Li work with Wong on such a film? "Yes," says
      the actress, "but only with more concentrated work time."

      As for Leung, he has the patience of Job, though with limits. "I
      heard Wong was going to shoot more scenes with Gong Li and Faye Wong,
      so I shaved my moustache immediately," he says. "You just can't go on
      shooting like that; you have to stop. The last two weeks of 2046:
      nightmare, nightmare." Still, he plans to work on Wong's next
      project, playing Bruce Lee's master. He knows it means a year of
      studying kung fu, but he's still willing. Chow's memory is intact,
      but Leung's is short indeed.

      Wong thinks that time will heal the scars he inflicted upon himself
      and his cast and crew. "I think it was like being in jail for four
      years. No one thinks it is fun at that moment, but maybe 10 years
      later, for some romantic reason, they will think of it as fun." He
      shouldn't count on it.

      &~183; 2046 will screen at the Odeon West End on October 29 and 30 as
      part of the London film festival. Box office: 020-7928 3232. It goes
      on general release in January 2005

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