Analysis of Wong Kar-wai’s 2046: Heartbreak of the Future2046 completes the trilogy Wong Kar-wai beg

Analysis of Wong Kar-wai’s 2046: Heartbreak of the Future2046 completes the trilogy Wong Kar-wai begun with Days of Being Wild and continued with In the Mood for Love. It’s a culmination of many ideas that create the Wong Kar-wai aesthetic, unrequited love, fleeting time, and repetition. 2046 plays out like a remix, a sci-fi-infused mixture of scenes from the past and an uncertain future. The vicious cycle of romance and life for Chow Mo-wan ends here.Chow Mo-wan (Tony Leung) has led a life of heartbreak and disillusionment. His journey started in Days of Being Wild. While Tony Leung’s character was only featured in the final scene, detached from the narrative of the film, his character is thematically tied with Yuddy (Leslie Cheung). They are two vessels for the same idea, damaged playboys who can not trust nor commit. Chow is introduced into 2046 as a man who can not harbor healthy relationships with women. Arguably his most passionate relationship, one with Su Li-zhen in In the Mood for Love, has left him devastated. He fills the void with heavy drinking, one night stands and gambling. The film documents Chow’s relationship with three women: Su Li-zhen (unrelated to the other one), Wang Jing Wen, and Bai Ling. Chow is a science fiction writer, injecting his personal escapades into a futuristic world of romance and erotisism. 2046 plays out in a similar vein, weaving between Chow’s experiences and his stories. The future Chow creates has people traveling towards a mystical 2046, a destination to recapture lost love. In 2046, nothing changes, so there is no sadness. This desirable stillness is an elusive element to Chow. With every woman he meets, initial feelings of passion die out for one reason or another. Su Li-zhen only reminds him of his former lover, and Chow acknowledges that pursuing that relationship would be a hollow one. Bai Ling and Chow start out as neighbors in a physical relationship, but as Bai Ling looks to establish a more long-term and exclusive dynamic, Chow backs out. In contrast, Wang Jing Wen and Chow Mo-wan engage in an intellectual relationship. They both share interest in writing and allowing her to ghostwrite for Chow is a demonstration of Chow sharing his mind. Unsurprisingly, Chow comments that the time they spend together were his happiest. However, their time expired as well when Wang leaves to marry a longtime sweetheart in Japan. In many ways, 2046 plays in parallel with Days of Being Wild. Chow–and Yuddy–are emotionally tied to one woman and physically engaged with another. Mimi (LuLu) from Days of Being Wild and Bai Ling are both very attractive women that become attached to Yuddy and Chow, respectively. They both seek approval and distinction through the relationship. They begin very independent and assertive, but end clinging to their male counterparts. Similarly Li Zhen from Days of Being Wild and Wang Jim Wen (and to a lesser extent Su Li-zhen) offer intellectual stimulation to Yuddy and Chow. It’s clear that these women bring happiness to the male characters, but the men’s destructive habits do not discriminate. And it costs them any chance at intimacy. Love peaks early, with the newness of sharing a life with someone. Time can only chip away at this ideal. It’s an uphill battle. The nostalgia-tinted history will always be more satisfactory and fulfilling than the present dilemma. It’s not surprising WKW takes up residence in the 1960s of Hong Kong and Singapore. By looking back in time, the stories are romanticized, with a dash of noir for good measure. There’s a strong temptation to reminisce on the past as a simpler time, one that made sense and romance was real. The future in 2046 plays a good analog to the past. The science fiction future is one of dystopia and disconnect. Romance is dead. However, there are hopefuls. They travel endlessly on trains, seeking 2046. It’s not important if 2046 is a place or state of mind. It’s a stillness, where romantic feelings can be paused, framed and preserved. Chow begins to write his character Tak based off Takuya, Wang Jing Wen’s lover and husband. The story slowly evolves to having Chow become Tak as Chow’s feelings for Wang intensifies. Tak is on this neverending train. A man seeking forever stillness is perpetually in motion. The train is occupied by androids, all of them molded after women Chow has met in real life. Tak falls for an android bearing Wang’s resemblance, but just as the real-life connection was never meant to be, Tak and the android were never meant to last. Other than offering a physical incompatibility, depicting all of Chow’s female friends as androids may offer insight into the inner workings of Chow’s mentality. His perpetual mistreatment of women points at how he perceives women. At best, they are alien to him. At worst, they are objects. Chow can never maintain a normal relationship with this history and knowledge. The film’s brilliance is in balancing these common motifs with exhilarating fresh excitement. The dynamics are similar, but they carry a new poignancy, similar to how relationships function. The film is stuffed, packing multiple arcs and many characters. But a strong central message and WKW’s trademark use of repetition ensure the themes are not lost among the noise. This is complemented with WKW’s usual flashy style. It’s a lot more tight shots than before, but the trademark sensual camera is still present. Hands and hips are repeatedly highlighted, symbols of control and femininity. 2046 occasionally feels like a greatest hits album, with a few new lead singles to maintain its independence. This is not a slight against WKW. When one has mastered the depiction of bittersweet relationships displayed in these films, it’s hard to ask for more. - Alex -- source link

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