Vive l'Amour

This film is about 2 guys and a girl, whose lives primarily intersect in an apartment that the girl, who is a real estate agent, is trying to sell. She brings guy #1, a street vendor, to the apartment for a sexual encounter, and he later ends up living there without her knowledge. Unbeknownst to both of them, guy #2, a suicidally lonely gay man, has already crashed the place. Guy #1 and Guy#2 eventually bump into each other (it's a large apartment), and Guy#2, in his need for companionship, becomes attracted to Guy #1, despite the fact that Guy #1 does not possess very many redeeming qualities.

I can't say that I enjoyed this film very much. The acting was good, the directing was frank. But throughout most of the film I kept asking myself where it was going. There was very little development or dialogue. However, while I didn't particularly like watching the seemingly infinite shots, at the same time I appreciated the way that they developed the mood, perspective, and bleak tone of the film. Mind you, this didn't don on me until near the end. These 3 people were each very much alone, especially the girl and the gay guy. Alone, and yet living in a large metropolis and surrounded by people. The "climax" of the film, where the girl is walking through the park, (the most barren, dead, and desolate public park I've ever seen.), made perfect sense. The surroundings were an achingly appropriate reflection of the girl's emotional state in life and the starkness of what her outlook must have been. When she sat down on the bench and started to sob, everything just clicked. I thought to myself "My god, I know exactly how she feels." That was my big revelation with this movie, when I related to her character. And because of this, the film held a special poignance to me. While I can't say that I was entertained by this film, I can say that I was impacted. It reminded me that the point of a movie can serve a more dignified purpose than just appealing to an audience as entertainment.

Modern alienation Please pay attention to the movie making time first. Making this movie in 1994 and in Taiwan is a great cinematic event. The film is a masterpiece in this respect. I refer to my memory a little and remember the important films of 1994 as much as possible. Kieslowski's "Red", " The Shawshank Redemption", "Forrest Gump", "Death and the Maiden", "pulp fiction", "Leon", and "Ed wood", but in my opinion, this movie is better than all these movies. This film has a deep and detailed look at today's human world. At a time when the 20th century is coming to an end, the film shows the perspective of the 21st century. Human loneliness in the modern world is not even a shoulder to cry on, how bitter and how effective it was. "Tsai Ming Liang" shows how respectable he is in his second production. His film has everything, from calculated direction to good performances, all three actors are wonderful in their roles. The long shots are very practical, appropriate and correct, and the power of the film and its effect lies in the fact that it advances its narrative with minimal dialogue. Movies with little dialogue have always been attractive and lovely to me.

One of the best of Tsai Ming-liang's glacial case studies of contemporary isolation and alienation in Taipei/the world, VIVE L'AMOUR is gripping in spite of it's extreme slowness (his work shares this quality with Tarkovsky or Antonioni). Tsai's work is superficially very chilly and ultimately heartbreaking - though Tsai also (as always) manages to also sneak in a little deadpan humor, which in this case includes the rather ironic translated title.

Three young, outwardly successful Taiwanese happen to cross paths - unknowingly at first - in the empty Taipei condominium one (a real estate agent) is attempting to sell. Through a bare minimum in dialogue - VIVE L'AMOUR is essentially a silent film until about 20 minutes in - Tsai charts their isolation and fumbling attempts at various kinds of human connection and finding some personal sort of peace. Tsai's scenario and characters are globalized, stripped of most marks of identity, and very much adrift, and their growth (or lack of it) is communicated through sparse forms of acting, direction and cinematography that reinvents seemingly antiquated forms of film-making (again, silent film) into a new-millennial era. In this, Tsai crafts a sort of haunted, elegaic drama that slides around the limitations of language, inhabiting a dreamlike, if also very dark, psychological territory.

Typically Tsai uses no musical score, and the dialog is very sparse, with the film favoring the natural sound of whatever environment the characters find themselves in, so the many memorable scenes do tend to sneak up on you. The finale is unforgettable.

I've seen a lot of movies and this might very well be my favourite ... it just gets me, probably because of how much I identify with Hsiao-kang and May Lin. It was my first taste of "slow cinema" and of minimalist film, and I loved it. I've seen it many times now. It's meditative and sad and funny. Nobody does loneliness and anomie like Tsai Ming-liang.

But please be aware of what you're getting into before you watch this film and leave a 1-star review. Slow cinema is not for everyone. For some people, watching this movie will be like picking up difficult poetry when all they've ever read up until that point was popular fiction. Vive L'Amour is not the most inaccessible work from Tsai Ming-liang, but it is not accessible to the average person who expects a certain level of pacing and noise and motion from a film (there is barely a line of dialogue in the film's first 20 minutes). Ideally, audiences should dabble in more accessible art house films before coming to slow cinema. Or they should check out Tsai's Rebels of the Neon God before this.

I suppose it's nice and trendy to see wonderful things in the absolute emptiness of a film like this. With the sometimes pointless excesses of many Hollywood films, we can relax and enjoy a scene devoid of explosions, foul language, and corny one-liners. Minimalism has its place, and can be very effective when employed properly. However, this film is not one of those cases.

Take the long scenes with no dialogue and dreary, sparse scenery. I'm sure that they must hold some great meaning and insight, because the implied message in shrouded in bafflement. The acting is poor... bland and pedestrian... and features one of the worst crying scenes in history (at the end of the film, if you can sit through it to the end). The scenery is drab, and the ridiculously long ending sequence of the girl walking through the barren park is as pleasurable as having a tooth pulled. I would call this anticlimatic, but as the film didn't build to any sort of climax whatsoever... not even in the "erotic" scenes... it would be untrue. I'm sure that there was a script employed during the filming, but with the amount of dialogue, I think it might have been written on a cocktail napkin. Basically, this film offers nothing to interest or amaze... no great story, no stunning insights, no visual drama, no excitement. Apart from two or three amusing moments, this film is a waste of two hours. A tragically boring and dreary film.