#CHUNGKING EXPRESS FULL MOVIE SCRIPT FREE#
His most famous work is the script of Alain Resnais’s divisive and debated 1961 reverie of “Last Year at Marienbad.” In an even more unsettling and unbound trip in the labyrinthine castle of subconscious, he drew the free directions of his 1970 grotesque cinematic masterpiece “L’éden et après.” Even in our days, it remains one of the best pieces of the American crime cinema, exposing an incomparably deep study of criminal behaviors and emotional complexes.Īlain Robbe-Grillet was an artist directly associated with the French New Wave. Well, you can’t deny it either: she used to have the beauty and style of a European actress of the 60s.Īrthur Penn’s 1967 masterpiece “Bonnie and Clyde”, despite its obvious influence from the French New Wave, sustains its own visual beauty, substantial fullness, dramatic honesty and unique artistic character. Faye Dunaway embodies that woman who means to accompany, get satisfaction, offer love, and still unbalance her tragic mate until a final devastation of his sentimental dysfunctions. Warren Beatty could have been America’s Jean-Paul Belmondo, and you can’t deny it: they both glared on a similar portrait of male beauty. Nevertheless, their vain chase of dreams in a labyrinth of twisted morals had already happened in France’s cinema. The story’s miserable and self-destructive criminal duo has lost none of its power in every viewer’s memory as yet. But the way she stroll in the city, the way she inhabits rooms full of books and tapes, the way she occupies white beds, and even the way she deals with romance reminds of Godard’s Parisian adventures.Įmerging in the very same era of the French New Wave’s occurrence, “Bonnie and Clyde” has established its own throne somewhere in between the timelessly iconic films. Frances has not the mysterious glamour of Brigitte Bardot or Anna Karina. The topics developed in “Frances Ha” have few in common with the wide topical background of the French New Wave. She’s a twenty-something New Yorker who happens to have ambitious dreams, despite she satisfies every possible mistake while watching the lives of her friends evolving and adopting stereotypical textures.
In a European style of filmmaking, and perhaps in a Jim Jarmusch’s way of telling an every-day story, Baumbach doesn’t rely too much on the plot’s complexity to expose his observations, as following the life of Frances. Her black-and-white microcosm, though, is found in a frozen drop of France’s 60s. Frances lives in New York, crawling after her middlebrow issues. The recent, much-acclaimed and discussed “Frances Ha” by young American director Noah Baumbach gloriously achieves an insertion of an ordinary American girl of our present in the both dark and shiny portrait of the French New Wave. In its colorful filters and stunning reflections, “Chungking Express” has a lot more in common with “Breathless,” with “Jules and Jim,” or with “Pierrot le Fou,” than you sense after a first watch. The start-line of the ablative narrative structure in cinema is firmly located in the French New Wave’s visual foundation, as is the unspoken exasperation that captures every corner of a silent room. The great Chinese director serves a deferential verity to the pure ideas of an archetypical uncorrupted spirit, instead of the serving the requisitions of a type of immediate narration. Its contextual movement describes mental states, instead of following linearly evolving events of time and reality.
His 1994 “Chungking Express” showcases a freewheeling use of both camera and script. However, there’s no such thing as parthenogenesis in art, and a thin surface of the French New Wave seems to happen in Kar-Wai’s world. No other filmmaker has ever delivered the same ideas in his prompt, quite artistic and sweeping manner. From the use of light to the use of music, and from his characters’ icon to the predominant loneliness of his thematic landscapes, you always know that you watch a Kar-Wai’s bewildering motion picture. One thing is definite: Wong Kar-Wai has got his own, distinctive cinematic character.
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