Les cendres du temps

"Ashes of Time Redux" is Wong Kar Wai's venture into the martial arts genre. However, energetic action and narrative clarity take a backseat to the visual poetry that contemplates wounded hearts, loneliness and the memories of lost love that cut deeper than any sword. Best appreciated as a sensory experience, "Ashes of Time Redux" unfolds as a series of beautiful yet melancholic images like the soft brush strokes of a Chinese landscape painting. Even the sword fights are shot as swirling, hallucinatory dreamscapes. The haunting desert landscape gorgeously captured in saturated colors by cinematographer Christopher Doyle, a brooding cello score by Yo-Yo Ma and the beauty of the actors (an all-star Hong Kong cast) contribute to a movie experience that both pleases the senses and engages the heart.

As a Chinese, I had chance to watch Kar Wai Wong's movies in my childhood. One of them is Dung che sai duk. But at that time, I couldn't even understand any of the actor's lines. Didn't understand why they people fight or cry. Then I fell asleep.

But after many years, when I went to university, when the girl I deep in love with left me to another country. I saw DVD of this film again, alone. And this time I cannot help enjoying it. Every actor's line touched me very very much.

What's behind the mountain? May be another mountain, and another. How wonderful it'd be to forget the past. Everyday would be a new beginning. Isn't that great? What's love? Maybe love is to leave the one you love, to win the one then finally find you have lost everything including yourself.

Now I have my job and new life. Many things have been past for a long time. And this movie, I cannot remember some of the scenes. But sometimes I still recall lots of words they say. When I am alone, when I feel gloomy or a little bit sad, the words will come to my mind with beautiful music and the scene of huge desert.

In this world, something's gonna change, something's not. If you cannot have someone, the only thing you can do is not to forget.

I will never forget.

I have my message headed with a WARNING because I don't want any readers to be misled and go rushing for this movie thinking it's like anyone of those Chinese Wuxia movies. This is not an action based movie, it only has "sword fighting" world as a background. This is what always made WKW's films different from any others'. This film has probably the least action scenes compared to any other sword fighting films made within the last 15 years.

I called it Timeless because seen again today, you don't find it outdated like some others' films. This is among the only 4 Chinese films that I will enjoy watching again every 2 or 3 years and I think this is the most "timeless" among the 4.(The other 3 are Love Eterne(Li Han Hsiang), A Touch of Zen(King Hu) and Days of Being Wild(WKW))

This is the kind of film that you know it's great even if you don't understand it. You don't need to understand its story in order to enjoy it. It's message is simply about "memories" and "regrets". It said something like "Regrets is the most painful feeling" and "regrets and unhappiness because of memories".It's the most complicated among WKW's 7 or 8 films(till 2046 and Eros). I don't fully understand it during the first viewing but I was totally surprised and mesmerized. I am the type that will consider a film good only if after watching, surprised me and felt that i could not thought of such a film. If I can expect or imagine a film's outcome, I will not call it great. Even after 4 viewings now, I am not totally sure I have figured out all its sequences yet but it doesn't matter. Some of the scenes and editions are paced so fast that you may not recall seeing it. Just like his recent 2046. This is the work of a brilliant director,because you need more than 1 viewing to fully get it so you must buy a copy for future viewing. Heard that even the Venice Filmfest Jury has to give it a prize although they don't understand what's it about.

Those who don't know how to appreciate a good film may not understand a WKW film as he seldom stick to a particular genre, his films' genre is simply WKW and it's all about sights and sound in WKW-style. Original, stylish and trend setting. After his Ashes of Time and Fallen Angels swept all the major awards during the HK Film Awards in the same year, 2 most prominent HK directors changed style and tried to follow WKW-style but both failed(Tsui Hark in Dao(Blade) and Stanley Kwan in Hold Me Tight.

WKW has mentioned that movies, to him is most is sights and sound and we see it clearly in this film. The music and the cinematography is the best.

Those who don't like WKW films may criticize that he don't has a script or don't know what he wants until the final edition. I totally disagree. I think WKW always know what he wants and completed the film just the way he wants it, otherwise how could all his films are being so well received by critics ?. As for the viewers, what we want is the finished work. We don't care the original idea or the casts. We only care for the outcome. I mentioned it because this film took 2 years to complete and along the way, plot and actors have changed.

Leslie Cheung - nominated for best acting here but I find him better in 2 other WKW films, Days of Being Wild and Happy Together(WKW won best director at Cannes). Brigitte Lin is superb in a dual character role/s. Tony Leung and Carina Lau are always good(usually and only) in WKW films. Maggie Cheung(unbilled) has her best 2 single take shots(her fans must keep this.) Even pop idol Michelle Yeung who never act well appeared like she acted.

I strongly recommend this film to any film student or critics. Those who like "2046" or Tsui Hark's The Blade will like it. This is not WKW's best but I consider it his most UNIQUE. Like any other WKW movies, it's a collectors' item and a future classic, if not already one.

I had the same issues with Wang Kar Wai's other movie "2046". Whats this all about? Mortality, love, existence. It's somehow about all of this. In other movies these themes are dealt with in the background of a plausible or implausible story. Here they are dealt with head-on, in what feels like a long hypnotic "dream poem" that is more symbol than story. There is the deep Camus-like narrator voice in the background saying stuff like "She waited frozen under deep unrelenting waves and the smell of eucalyptus" (not a line from the movie, but it could be). Maybe there is a lot that isn't easily translated. So it's confusing both intentionally and unintentionally. At the same time there is some kind of majestic beauty to it. It is mostly quiet and moody but erupts occasionally with little bouts of violence. To be honest I hardly understood any of this movie (full credit to whoever wrote the IMDb synopsis) but I was left with an impression - a feeling, a mood, an emotional state - which may have been the whole point.

Kar-Wai is one of the three best directors working today. Many feel this is his best work. Surely it is the greatest leap since his previous, but I find the Mood-2046 pair more important, even lifealtering.

If you come into this expecting a story that unfolds in good order and makes sense, you will be disappointed. The overlapping of layers, the folding of narrative, the merging of images is what we're in for.

There are two famous stories about this. The first is that at some point he quit work, then quickly went off to make "Chunking Express," during which he "found himself" ...

The other story has to do with "Pulp Fiction." Tarantino is a huge borrower of ideas. Having already written a couple "raw" movies that people admire, he stumbled upon Kar-Wai in the midst of making this — a long affair. All the clever bits in the structure of "Pulp" are from this, just as surely as all the clever bits in "Star Wars" are from Kurosawa.

What are those bits? Multiple persons in one body. Multiple bodies for one person. Circular storytelling where any part is the beginning. Nested narrative where one story tells another. Characters that imagine and forget each other, bringing them into our world and out.

Death, love, yearning, accident, encounter.

All of this at the beginning of a luscious partnership between Kar-Wai and Christopher Doyle. They are today what Greenaway and Sacha Vierny were: dangerous adventures in cinematic imagination coupled with mastery of cinematic expression.

This takes a few too many chances and you can see precisely where Kar-Wai abandoned it to search for sense. (He always shoots in order of what you see.) But if you are ready for the transcendental thrills of his later work, you might want to start here.

Ted's Evaluation -- 3 of 3: Worth watching.