Millennium Mambo

'Millennium Mambo' is a surreal, enigmatic film exploring the developments in the life of Vicky. Vicky is young woman who struggles to end her miserable relationship with her abusive boyfriend Hao-Hao, who she's lived with since her teenage years.

I'm left wondering whether there are hidden meanings to this film that are above my head, or whether there is actually all that much substance there in the beginning.

It all managed to be fairly entrancing however, thanks to the magnetic performance of Shu Qi, who proved she is much more then just an extraordinarily beautiful face and figure.

She effortlessly keeps the viewer's attention during endlessly long takes where not a lot appears to be happening.

Hou's latest film, I saw as part of Village Voice's Best Undistributed Films of 2001 series, feels like a mixing and modulation of his last three: a young woman's abortive but contemplative contemporary existence (GOOD MEN, GOOD WOMEN), a moment-by-moment addiction to thrill-seeking (GOODBYE SOUTH GOODBYE) and a love affair entombed in drugs (FLOWERS OF SHANGHAI) all figure into Hou's attempt to lyricize the moment we are living in -- NOW. The result is a film that seems immensely fascinated in each moment it is capturing -- luminescent bodies dancing in an underground rave; a man inhaling and exhaling smoke from a makeshift bong; the absolute wonder of one's facial imprint in an immaculately white snowbank -- until those moments lead to other moments of inescapable banality or dread. Hou enhances this addiciton-to-the-moment with a voice-over that takes place in 2010, giving away plot points before they happen on-screen; since narrative convention no longer matters, the result is an even more intense experience of the moment tied in with an odd sensation of retrospection (no one messes around with the concept of history more than Hou). The give-and-take of this kind of project is that not everything will succeed on a dramatic level, but the experience of this film (and I do mean *experience*) is too exquisite to be denied. There are no less than half a dozen moments in this film, easily the most sumptuously photographed of the year, whose sheer beauty in harmonizing time and image are timeless treasures: objects and settings seem to take on a life of their own, before they are inevitably swept under the ever-moving carpet of time.

The mood in which I left after viewing Millennium Mambo was a heavy sort of depression. I felt as if I had experienced, or re-experienced through memory, events causing one to give in to hopelessness; to accept being dominated by another. In retrospect, Vicky describes this period of time as being hypnotized or under a spell. Hou Hsiao-hsien is successful in casting that spell on his audience. Three aspects of the film lend to this success: the non-sequential unfolding of events, the use of long-takes from a more or less distant perspective, and the sound track. One of the first glimpses into Vicky¡¯s life with Ah Hao is at a time in their relationship when she has already given up. From here we are taken further back to various points in their relationship. There is no story per se, she is simply caught in this cycle of him finding her and her leaving, yet we do learn how she ended up in this cycle. There was a time when she resisted his advances, when she scolded his dangerous drug use, a time before she felt trapped. Knowing the end result of their relationship maintains a sense of hopelessness throughout the film. It is this constant sense of hopelessness, with no comic relief or side story to lift the weight of the mood, that causes the audience to experience the spell she is remembering. ¡°Cold, and colder, that was what I demanded of my camera¡± When I read this quote I immediately recalled the scene I mentioned above, when Vicky endures Ah Hao¡¯s advances, sexual or otherwise, annoyed, but in complete submission and as a matter of routine. The camera follows him to the floor, straining to see through the table obstructing the view but not getting any closer. While this may have been a mixture of ¡°pathos and eros¡± as Ah Hao smelled her body for the scent of other men it was indeed a disturbing violation that the camera forced the audience to participate in by calmly looking on. Other long-takes, showing two or more simultaneous independent actions, helped to invoke her sense of loneliness and the monotony of her life as the minutes dragged. Thirdly, the soundtrack, with its hypnotic beat and mix of high-pitched, eerie sounds, matched the repetition of events played out on the screen. He was the DJ, controlling the sounds added over the same, never-ending rhythm. This is what she lived with, day in and day out. Even as she is walking alone over the bridge, the same music is playing in her head.

A hollow life is observed clinically but sympathetically in this melancholy, graceful film, which is itself hollow but compelling, like the dance beat it is set to. The director uses a convention I hadn't seen since early silent films: a summary description of an action, followed by its acting out. Also, the story is narrated from a time yet to come. These devices create the sense that the events have happened before--as they have, in the cyclical, purposeless life we are witnessing--and also that they are inevitable. The story is narrated in the voice of the leading character, but in the third person: an older self from a real future? or an alternate reality? or only her imagination? The narration is necessary as a comment on the characters' behavior because in the numb and mindless hedonism that draws them in and keeps drawing them (she keeps leaving the boyfriend who embodies this life style but keeps returning to him) they are never shown as capable of thought. Whether the film means to say that, or is simply limiting its view and depth of field to exclude their thoughts as peripheral to their lives, this lack works to unconvince us. The characters are shown in attitudes of thought but never speak anything like a thought, even a stupid one; they are moved entirely by want and impulse. The hedonist boyfriend is shown as having friends; how? Nobody not brain-dead exists in a state of pure mindlessness. That is the view of parents whose adolescent refuses to talk to them: who can understand these kids? This film describes a life--and this is an interesting accomplishment, but a relatively narrow one. More difficult, in this milieu, and ultimately more interesting would have been to discover the person whose life it is (or will have been).

In a revealing interview included on the DVD, Hou Hsiao Hsien says he wanted "Millennium Mambo" to be a picture of Taipei night life and also "much more," a "multifaceted" film with "multiple points of view" that he would have liked to make six hours long; something post-modern and deconstructed and free-form and improvised, but "modernist" too in some aspects.

The actual film isn't so much multifaceted or plot less as it is a portrait in the moment of a few people composed, with a voice-over from ten years later, from the point of view of a pretty middle-class girl called Vicky (The bee-sting-lipped, doe-eyed Qi Shu, who also stars in the present-day chapter of Hou's recent "Three Times") who's stuck in a dysfunctional relationship with a spoiled, also pretty, middle-class boy, the bleached-haired Hao Hao (Chun-hao Tuan), who does drugs and hits on Vicky when she least wants to be hit on and who won't work and, as Vicky's omnipresent voice-over tells us, at one point has stolen his dad's Rolex and pawned it for a lot of money. They live together and hang out at clubs and Vicky works at a bar as a "hostess," a euphemism for a lap dancer who does drugs and drinks with customers and probably has sex with them -- like Liang Ching (Annie Shizuka Inoh) the actress-narrator of Hou's 1995 "Good Men, Good Women." Vicky's bar job gets her involved with an older gangsterish man named Jack (Jack Kao, the actress Liang Ching's dead lover in "Good Men").

"Millennium "Mambo" doesn't show us Taipei nightlife in any collective or panoramic sense. It shows us -- a few times -- the hazy corners of a few bright clubs with little crowds of attractive young people playing games and doing drugs and alcohol, and it shows us -- many times -- corners of the apartment where Vicky and Hao Hao live, and bits of a mountain town in Hokkaido, Japan where Vicky goes, invited initially by a couple of boys she meets.

Atypically for Hou, the camera moves around quite a bit too in this film, following the people and hugging their faces and bodies -- but also lingering, in his old style, statically observing doorways, walls, light fixtures, or windows with a train going by outside. Many cigarettes are lit, many are smoked. Meth is puffed in a pipe. Hao Hao pouts. Vicky looks sad or angry. The couple break up, but Vicky comes back, or Hao Hao comes after her. It's approach/avoidance: he tells her she's from another planet, but he keeps getting her back. Jack is an oasis for Vicky; but at a crucial time in winter when she goes to Japan, he isn't available, leaving her a key and a cell phone, to wander the streets. She lies in bed. She stares out the window. In a long outtake on the DVD about her Japan sojourn, Jack actually calls her and she's got a cold. In the final cut, he never calls, and she remains healthy. What's left isn't much, though as always for Hou and for many Chinese directors, the visuals are lush and beautifully lit, even if the frames are empty and the plot line, though never absent as his interview promises, goes nowhere. "Millennium Mambo's" reference to the end of the millennium (and perhaps changes in China and Hongkong?) seems, like the six-hour movie and the portrait of Taipei nightlife Hou promises in his interview, to have come to us as little more than the pretty but empty fragments of a vague, lost intention. This is a remake of Antonioni's "L'Avventura," in winter, with young attractive Asians -- and Qi Shu as the new Monica Vitti -- but without the world-weariness or awareness of any sort of fading cultural heritage, and with, instead of Antonioni's haunting white noise, a nagging techno score.