Wong Kar-wai has a long shelf life compared with its peers. From his unique interpretation of literary films, it is not difficult to see that the future development trend of his literary films, while following the classics, will certainly add more value accumulated over the years, as the so-called "movies are like people."
As we all know, as a leading figure behind the screen, Wong Kar-wai, as a director, has always demanded perfection in the film, and the actors must do what they feel, so that the play can pass. This is a unique director in the industry and has won him a good reputation.
Even for commercial films, he is not stingy with his talent. The expressive force of the lens and the contrast of light and shadow can always buckle the audience's inner self within a reasonable range in the tireless polishing process, and can also derive reasonable business rules unexpectedly, which is a "balance point" that ordinary directors can't reach. Take "When Tears Flow" directed by Wong Kar-wai as an example, the sense of substitution makes it difficult for the audience to pay attention to this commercial film, even though it is the only commercial film directed by him.
Even if some films have to add commercial and advertising elements, they still cannot remove the essence of literary films. Even as a critical audience, the sensitivity to movies is not limited to commercial implantation or advertising implantation. Therefore, whether it is a commercial film or a literary film, Wong Kar-wai can express his own set of values with ease.
According to the influence of the film, it is not difficult to see that Wong Kar-wai's unique vision and delicate lens perspective really have a magic power to capture people's hearts. If the actor endows the film with the soul, then Wong Kar-wai perfectly captures the soul of the actor in shaping his personality image. He is not looking at the actors, he is exploring the truest side of acting. From this perspective, it cannot be said that Wong Kar-wai and Jiang Lang have exhausted their talents. It can only be said that he has begun to hide his own strength and has introspected and criticized the profession of "director".
"Say less and do well" is the simplest value of Wong Kar-wai's literary films in public view. The lens is copied back and forth, which saves the clutter of life and leaves an almost silent daydream space, but the penetrating power of every sentence is like "unbearable lightness of life".
Finally, it ends with The Grandmaster. Wong Kar-wai's mastery of lines and camera control is very unique. From this perspective, Wong Kar-wai is not worried about losing the market of his own films, or doesn't care about the market at all. What he cares about is whether his appeal can hold up the soul of the whole movie. A master did it, and not only did it. To some extent, Wong Kar-wai is not a talent in Jiang Lang, but he keeps a low profile, accumulates wealth and keeps his works fresh.