I had hoped to revisit the Brueghels...
...in the Palazzo Doria Pamphilji today but was distracted along the way by buskers and then the rain and total fatigue set in.
So if, just if, you have been sitting waiting for a report on the Brueghels, on high art, on great beauty, here is someone's analysis of what I think is the greatest of all films, a Brueghel in complexity, a thing of tension and intelligence and beauty, without violence, with humanity, Wong Kar-wai's In the Mood for Love.
This is not the whole film but a nice analysis. However he doesn't speak of the colour and the beauty, which is like analysing pasta in black and white without the eating, without mentioning olive oil. The beauty is fundamental to how the film takes us on its extraordinary path, which the analysis covers well. He's a boy, he tried to count the frames, didn't try to count the dresses. There's a level in which this film floats through beauty and the plot is just an underlying mystery. The beauty holds it together. Other Wong Kar-wai films shred themselves a little, torment themselves. The sequel, 2046, taking its name from a room number in this film, wanders into the future and more dimensions in seeking the human heart.
So if, just if, you have been sitting waiting for a report on the Brueghels, on high art, on great beauty, here is someone's analysis of what I think is the greatest of all films, a Brueghel in complexity, a thing of tension and intelligence and beauty, without violence, with humanity, Wong Kar-wai's In the Mood for Love.
This is not the whole film but a nice analysis. However he doesn't speak of the colour and the beauty, which is like analysing pasta in black and white without the eating, without mentioning olive oil. The beauty is fundamental to how the film takes us on its extraordinary path, which the analysis covers well. He's a boy, he tried to count the frames, didn't try to count the dresses. There's a level in which this film floats through beauty and the plot is just an underlying mystery. The beauty holds it together. Other Wong Kar-wai films shred themselves a little, torment themselves. The sequel, 2046, taking its name from a room number in this film, wanders into the future and more dimensions in seeking the human heart.
Here, dubbed into Italian, is a scene towards the end.
In a rainy street that looks a bit like Rome in this past wet week.
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