A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Shu Qi. Show all posts
Showing posts with label Shu Qi. Show all posts

Saturday, July 5, 2025

Millennium Mambo (Hou Hsiao-hsien, 2001)

Shu Qi in Millennium Mambo

Cast: Shu Qi, Jack Kao, Duan Chun-hao, Chen Yi-Hsuan, Jun Takeuchi, Doze Niu, Jenny Tsen Yan Lei, Pauline Chan, Huang Xiao Chu. Screenplay: Chu T'ien-wen. Cinematography: Mark Lee Ping-bing. Production design: Huang Wen-Yin, Wang Chih-cheng. Film editing: Yoshihiro Hanno, DJ Fish, Giong Lim. 

In Millennium Mambo, Hou Hsiao-hsien presents Vicky (Shu Qi) to us as an object of contemplation, as lacking in agency and volition as an apple in a Cézanne still life. She is being contemplated not only by us but also by herself, ten years later, so Vicky sometimes narrates events before we even see them. She is existentially passive, allowing herself to be propelled through life by others, especially men and particularly her boyfriend Hao-Hao (Duan Chun-hao) and the gangster Jack (Jack Kao). Naturally, as a woman and not an apple, she responds to stimuli, pleasure and pain, but we're no more expected to pass judgment on her than we are the apple. It's a film that replaces plot and narrative with incident and images, handsomely provided by cinematographer Mark Lee Ping-bing, in a cinema moving away from novels and plays toward paintings and sculpture, yet retaining a connection with actuality inherent in the medium. Millennial indeed.