Cinespot : From Singapore with Love

From Singapore with Love

It just crossed my mind that I have been contributing to a film site based in Hong Kong, without actually having written anything on the territory's rich cinematic output.

With the year 2004 coming to an end, I see fit to contribute below, my ramblings on two Hong Kong films which stuck in my mind long after the credits rolled.

A-1: Headlines - "If the pillars are strong, the battle is not (yet) lost..."

A-1: Headlines sounds simple enough.

A journalist' death triggered his heartbroken girlfriend's (Lee Sin-jie, Angelica) suspicion. A reporter herself, she enlisted the help of an ex-cop turned debt collector (Anthony Wong), in unraveling the mystery of her lover's “accident”. Together, the team of investigators dived headlong into a cauldron of political intrigue and organized cover-ups which may potentially be breaking head line news, or a revelatory realization on the very nature of “truth” itself.

What originally felt like a normal police procedural eventually revealed itself. A1 successfully weaved into the fabric of this movie, an intriguing take on the current state of affairs. It attempted to peel away the labyrinthine cobweb of business, politics, media and the tricky essence of "official" truths.

Most enlightening to me about A1 though, is not the opportunity for above intellectualizing. It's the realization that a profoundly heartfelt human touch is never lost in this socio-political essay. Yes, grand issues were on the menu, but the side dishes enticed me more - the people making up the “system”. I am captivated by how their strengths, frailties, and differing personalities all add enlightening shades onto an already effective thriller.

While the myriad characters in A1 are chasing for (or covering up) the elusive truth, their motivations and behaviors remained lucid. For despite the backings from their respective institutions (be it an industrial force of media, wealth, power or politics), they are very often guided by such heartening human traits as regrets, honor, moral conviction and most of all, benevolence. Together, the mosaic of people dotting this film's universe has stamped an indelible face of human decency, in a world ever encroached by faceless powers.

By film's end, not all plot holes are filled (and sensibly so, if you ask me). But the affirming message I got from the movie is vastly rewarding. A "system", however noble, weak, or even "shady", is made up of people like you and me. And if these "pillars" stay tenacious, pragmatic, with beliefs rooted in simple human goodness, nothing can take them down. We can beat the system, or at least stand up to its daunting challenges, if we truly believe in our innate capabilities to make the best, the most moral, and ultimately, the "right" decision.

My heart hence warmed with the knowledge that it is a Hong Kong film, which provided above insights. There is hope yet for the HK film industry, for the present cloudy socio-eco-political climate, and most importantly, for the Hong Kong people.

This is my second most favorite Hong Kong film of the year. So what is my No.1 then? It's of course, the one below.

2046 - After 97....

I am suspending with a description of this film's synopsis, for its not really essential to know what 2046 is all about. Its more enriching to appreciate what it represents, to each and every viewer who connected with it, or otherwise.

I have difficulty articulating my love for films I truly love (like this one), which is the reason why I dare not write about 2046 until now. And I have a feeling I will fail miserably at my present attempt too. But what the hell, if I don't say something now in support of the film I love so deeply, there may never be another appropriate time again.

To me, WKW has sent out a most courageous of invitations. With a lucid vision, this cinematic train veered off its beaten tracks and strived to connect with "willing" passengers. Riding on the back of his experiences in making films and living life, WKW unleashed upon an unsuspecting public this meticulously conceived masterpiece. One which not only pieced together the kaleidscopic jigsaws of his body of work, it ironically splintered from them too. For from those past colourfully "hollowed" WKW bubbles, 2046 produced a coagulated pool of suds worthy of the most lavishly sentimental soap operas. IMHO, this stylistic decision to overload our senses as well as our hearts was intently devised to rally all kindred spirits together. To open up, dig deep into ourselves and prepare us all to bask in the collective experience of one schizoprenic "train man".

Who then is this "train man"? IMHO, this "man" can be anyone or anything. He can be Tony or his Japanese alter-ego. He can be Faye, Zhang, Carina, Gong or that all elusive Su Li Zhen. This "man" can be an amalgam of the myriah characters in 2046, fictional or otherwise, in parts or in sum. He can also be infected by the experiences of WKW himself, or mnemonic remnants of his past films. By extension, he can be you or me. Hell, thinking about it, this "man" can be life itself.

I picked up simple truths rising from the clouds of 2046's smokey universe. Evoking a calm of looking with patient eyes, 2046 is as close as it gets to understanding the helpless spiral of this mortal coil. There is no desire to change lives, one self or this whole f***ed up world. Because with age, experience, quiet observation and revelatory introspection, a melancholic acceptance is reached. To see, to understand, to accept and most importantly, to control the despair of knowing too much. This is beauty neither in the sights we see nor the sounds we hear. This is beauty in a state of mind.

2046 is the first and only WKW film which I truly LOVED. I'm hence actually glad WKW disappointed many of his "fans". With 2046, WKW has shown the fortitude to venture into a whole new heedless direction. Its has scant regard for critical consensus or fanatic demands to remain "WKW". 2046 appeals overwhelmingly to my sensibilities. In fact, this is the only film in recent memory which almost approaches the stature of Tokyo Story (for me), in its imperceptibly intuitive illustration of an Zen-originated, Yasujiro Ozu-associated precept, Mono no aware - Sensitivity to things.

In closing, I will like to take this opportunity to wish all staff and readers of cinespot.com a happy Christmas and a jolly New Year. Here's to many more years of great Hong Kong movies. Cheers!

Written by Sinnerman