今天稍微在網路上找了一些首映場後的觀影經驗或評論 似乎不是 呃 很理想 (或許包括我在內的許多人 都對王家衛有著近乎苛求的期待) 以下是英國衛報的評論 四顆星評價 滿分五顆 簡言之 2046是花樣年華的延續與變奏 對了 王菲飾演旅館老闆女兒 與梁朝偉一起合寫小說的過程中發展出感情 不是什麼未來的機器人 Four stars out of five: "2046 Cannes festival Peter Bradshaw Friday May 21, 2004 The Guardian Four years ago in Cannes Wong Kar-Wai had a smash hit with his romance In The Mood For Love, about a man and a woman, played by Tony Leung and Maggie Cheung, having a melancholy, platonic affair in parallel to the adultery of their spouses. A year later he presented his enigmatic short film In The Mood For Love 2001, showing the same characters in modern Hong Kong. His sensationally lush and languorous new film, 2046, is clearly an extension of this drama, unfolding on a canvas of sometimes almost glutinous richness - part sequel, part variation on a theme - with a startling narrative like something by Dennis Potter. Leung plays Chow, a rackety journalist and pulp-fiction author in sixties Hong Kong, living in a cheap hotel and escaping the painful memories of a failed liaison. He's a raffish bachelor with the cruelty of a natural heartbreaker and a knack of inspiring love in beautiful women while being too wary and worldly, or just too shallow, to return their passion. Chow's emotional life is displaced into a sci-fi novel he is writing called 2046, a Kubrickian fantasy of a hi-tech global train network with a service called 2046 in which people can reclaim their memories. The action is interspersed with Chow's futurist vision with characters in fictional guises. It looks sensational, though sometimes resembling the kind of luxury goods commercial that Wong Kar-Wai has made (for BMW cars). Meanwhile, Chow indulges a passion for the women who live in Room 2046. Bai (Zhang Ziyi) is a beautiful girl who falls in love with him. Wang (Faye Wong) is the hotel proprietor's daughter who develops a tendresse while collaborating on a novel. And Gong Li plays a mysterious gambler. The director and his cinematographer, Christopher Doyle, contrive their familiar close-ups and shabby interiors, often showing an eye for a beautiful female sashaying up stairs. In watching the film we are marooned in a virtual "present" time of exquisite unhappiness. It is an absorbingly mysterious, richly sensuous film." --

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