Wong Kar Wai “2046” (2004)
If ever a film could be considered typical “art house” with an emphasis on visual candy, music substituting for emotion and colour for mood, and a story-line that appears to promise much but ends up saying very little, then Wong Kar Wai’s “2046” would be that film. It looks stunning and the camera lavishes a great deal of attention on period detail to evoke nostalgia for a (mostly romanticised) past. The actual events of the period in question – most of the movie is set in Hong Kong, Shanghai and Singapore during a significant period in the history of the Chinese-speaking people in the mid to late 1960s (hey everyone, look, the Cultural Revolution was taking place in China) – take a distant backseat to the concerns of the film’s main character, an unemployed journalist and writer of seedy pulp fiction Chow Mowan (Tony Leung), who spends most of his time on screen chasing women of dubious virtue. An unhappy affair with a lady called Su Lizhen (Maggie Cheung in a tiny role) sets our man Chow adrift searching for love and comfort with a series of lovely ladies beginning with high-class call girl Bai Ling (Zhang Ziyi), his landlord’s daughter and aspiring writer Jingwen (Faye Wong) and a professional gambler (Gong Li) who also happens to be called Su Lizhen. Already I think we can see where this film is going. The only problem is Chow is unwilling to commit himself fully to any of these women, stunning beauties though they are, and the result is heartbreak, lots of brooding and unhappy expressions all around. At the end of the day, Chow is as lonely as ever with only his memories to keep him company and his various loves go their separate ways.
Chow’s love affairs provide much material for a science fiction novel he is writing in which a fantastic train carries its main character (Takuya Kimura) on a never-ending journey to reclaim his memories, so that he can go forward into a new life, and during which journey he meets android stewardesses who are Chow’s women projected into the train-riding future to find true love. The only problem is that having given their hearts to Chow, the androids are unable to love. The story of the novel is intertwined with the episodes of Chow’s most significant romances, those with Bai Ling, the landlord’s daughter and the second Su Lizhen, though the film hints at other romances Chow has had which have turned out to be just as desultory and futile.
The plot is very flimsy and the characters are weakly developed, with only Zhang and Wong’s characters deserving of much sympathy from the audience as the two women try to find emotional fulfillment. Zhang gives the impression of working hard in her role while the rest of the cast sleepwalk their way through their respective parts. If the film works it is mainly because the stories are more or less threaded together along with the sci-fi subplot so that there is a constant transition between the subplot and the stories as a group. Indeed the subplot is the sole element that holds the entire narrative although the psychological outlet it provides for Chow to dump his problems is a dead end.
Though the film has been much lauded (by Western film critics) as a languid and exotic Oriental piece with gorgeous images and faces, a distinct style and haunting ambience, it really is not much more than a very glossy soap opera with nothing much to say about the nature of love and loneliness. The most viewers come away with is a platitude about finding true love at the right time and the right place but this is about as profound as the message gets. There is nothing about true love being something people might have to work at if it is to be recognised. The main character learns no real lessons from his experiences or from the novel he writes and publishes, and at the end of the film, all that can be said for him is that he will continue drifting along in life collecting more unsatisfactory affairs.
“2046” took up two hours of my time that I’ll never be able to claim back.