| |
|
|
|
2046
|
List Price: $14.94
Our Price: $7.49
Your Save: $ 7.45 ( 50% )
Availability: Usually ships in 24 hours
Manufacturer: Sony Pictures
Starring: Chen Chang, Maggie Cheung, Jie Dong, Li Gong, Takuya Kimura
|
Average Customer Rating:  
|
|
Aspect Ratio: 2.35:1
Audience Rating: R (Restricted)
Binding: DVD
Brand: sony pictures
EAN: 9781404989436
Format: Color
ISBN: 1404989439
Label: Sony Pictures
Manufacturer: Sony Pictures
Number Of Items: 1
Publisher: Sony Pictures
Region Code: 99
Release Date: 2005-12-26
Running Time: 128
Studio: Sony Pictures
Theatrical Release Date: 2004
|
|
|
|
|
|
|
|
|
Editorial Reviews:
|
In Wong Kar Wai's quasi-sequel to In the Mood for Love, 2046 is a hotel room, a futuristic story, and a state of mind. Tony Leung returns as Chow, but perhaps not the same Chow who appeared in the first film. Starting three years later in 1966, we see Chow on various Christmases as he lives, loves, and writes in a hotel and nearby restaurants. Although he is less sensitive and more of a ladies man now, Chow's love life always seems to exceed his grasp. Whether the character is the same (the director calls this an "echo" of the first movie) might be trivial. Hong Kong filmmaker Wai is such a visualist (Time magazine tabbed him as the "world's most romantic filmmaker"), the images wash over with swirling smoke, neon lights, and the faces of his outstanding cast, all lovingly photographed and smoothly scored. There's a lot more going on than the visuals, and Wai's fans will certainly find more and more details on repeated viewings. We travel into Chow's futuristic story, where the acquaintances become fictional characters traveling to a place where "everyone goes" to recapture lost memories. Often Chow talks about never seeing a lover ever again, but eventually bumps into her. The final result is a film some will cherish; others will long for the more traditional storyline of the first film. Wai certainly finds a new direction for actress Ziyi Zhang (House of Flying Daggers) as a prostitute who becomes one of Chow's many lovers. And Leung continues to be one of the world's great film actors, with a face and acting style the camera just loves. --Doug Thomas
|
|
|
Spotlight customer reviews:
|
Customer Rating:
Summary: 2046 is it really that long!!
Comment: The trailer was better than the movie. Though it was beautifully filmed it was to long. The trailer was a bit misleading, but no spoiler here. If the movie was 30 minutes shorter it would have been better, it had more false endings than Lord of the Rings. I would have loved to give it a five, but it just didn't make the cut!
Customer Rating:
Summary: Clarification
Comment: Some people here are complaining that they dont understand this wonderful, this marvelous film. So, may I suggest them to make a visit to "2046 wilkipedia". All will suddenly become clear!
Customer Rating:
Summary: The Good, the Bad, and the Well, there is no Ugly
Comment: I didn't want this film to end, because (1) I loved the visual style and the actors/actresses in the film, and (2) I had no idea what the heck was going on in the movie.
First, the good. This guy (Kar Wai Wong) is a visionary as a director. He has a stunning eye, and I was totally in love with the visuals in the movie after the first five minutes. I did watch the commentary features where they discussed that when the film was debuted at Cannes the special effects were not even completed, but the simple lines attracted Mr. Wong's eye and changes were made to incorporate more of this linear style for the final version of the film. This is a film to be savored simply for its world construct, both present, past, and future.
Secondly, the bad. The plot was difficult to follow, and it will take multiple viewing to sort some of it out. I first assumed the movie was set in the year 2046, and Tony Leung as Chow Mo Wan wanted to escape the boring present of that age by going back in time to the late 1960s. Then I read that, no, the world of 2046 was actually just a science fiction story that the characters may or may not appear in, but definitely female androids/robots did exist (deliciously beautiful, I might add). People come and go, a murder may or may not have happened, Tony Leung may be Chinese or he may morph into a Japanese character in 2046. Additionally, the protagonist and/or his love interests tend to stay in hotels in rooms 2046 or 2047. There's a woman who may be missing a hand, or maybe not, but either brings good luck, cheats, or has terrible luck herself. Whew!
Now, for the ugly. Well, in a film this sumptuous, there really isn't any ugly at all. There is a mysterious symbol that appears occasionally, sort of a big flower or fungus with perhaps a hole in the middle that one can peep through (there's a lot of spying going on in the film); maybe that's a bit odd, but not ugly.
One last thing: kudos for the music in this film. I'd love to have the soundtrack, as it wanders from original music to opera to classical to jazz to traditional tunes. The atmosphere of the film would be diminished significantly without this score.
There are several bonus features in the film including interviews with Tony Leung and Zhang Ziyi, who plays the daughter of the hotel manager. Those interviews helped explain the movie to me a bit. There are also deleted scenes and an alternate ending which don't help clarify anything.
I recommend this movie for those who love beautiful movies, and are not put off by the non-linear plot. I enjoyed it, but for good or ill, it will take multiple viewings to make sense of the plot.
Customer Rating:
Summary: It's a metaphor
Comment: First the history: Hong Kong was given back to China by the British in 1996 but was decided that nothing would change for 50 years -- until the year 2046.
Now the movie. To me, "2046" is a metaphor for how the Chinese in Hong Kong would be feeling in the year 2046 when they will be fully under Chinese rule. Some who can't or won't accept change will ask why can't things go back to the way it was before, while others will embrace what the future holds. Something like that. Remember the owner telling Chow to stay in 2047 for a while and move to 2046 when the room was ready? Chow later says that he got used to 2047 and decided to stay.
The characters are culled from 2 previous WKW movies that loosely form this trilogy. Carina Lau is Lulu from "Days of Being Wild". Tony Leung also from that movie but only in the very last minute of the film, and of course, he was in "In the Mood for Love". He not only gets to act with his beautiful real-life girlfriend, Carina, but his other female co-stars are also legendary beauties in Asian cinema. Maggie Cheung/Su Lichen is only in a dream sequence, Faye Wong/owner's daughter (this is only her second WKW film) whom Chow has grown affection for, but willing to let her (HK) go, Zhang Ziyi/Bai Ling (a new addition to WKW's stable of muses) who loves Chow (HK) unconditionally whatever his flaws, and Gong Li/Black Spider who wants to go with him but is stuck in the past.
The film is presented in 3 viewpoints: the present "real life" in which Chow is the womanizer who can't be pinned down because of how much he still loves Su Lichen in ITMFL and she is the yardstick by which all future relationships are measured. The futuristic scenes are when he is writing his sci-fi novel and his "real life" people and experiences work their way into the novel. Also, when he can't deal with real life, he goes to his novel and integrates recent real life events into the novel to help make sense of it all. Then there is the one or two dream sequences for when he is narrating his thoughts to us, the viewer.
I'm sure this is only the surface of the many layers this wonderful movie has to explore. I look forward to "getting" more of it with each new viewing.
Customer Rating:
Summary: 2.46
Comment: The story line is incoherent futuristic surrealistic-abstract, while future, present, and past are co-relating to Tony's affairs.
To understand this movie better, it'd be better to read symbols instead of picking up the time and the space; and to name a few:
* A train of time and memories connects the stories of his encounters.
* The android represents one of his encounters, Faye, and himself as Faye's Japanese boyfriend.
* Different (speaking) dialects between he and each encounter foreshadow a unrequited relationship.
Besides playing the elements of a movie and giving an ostensible beautiful incoherent directing, the story and the movie lack an extension and expansion of the protagonist's passion while interacting with other (over-acting) actresses.
I give this movie 2.46 points.
|
|
|
|
|
|
|
|
|
|
|
