Three Times
| Movie | |
|---|---|
| German title | Three Times |
| Original title | Zui hao de shi guang (最好 的 時光 / 最好 的 时光) |
| Country of production | France , Taiwan |
| original language | Mandarin , Taiwanese |
| Publishing year | 2005 |
| length | 116 minutes |
| Age rating | FSK 12 |
| Rod | |
| Director | Hou Hsiao-Hsien |
| script |
T'ien-wen Chu , Hou Hsiao-Hsien |
| production |
Hua-fu Chang , Wen-Ying Huang , Ching-Song Liao |
| camera | Mark Lee Ping-bin |
| cut | Ching-Song Liao |
| occupation | |
| |
Three Times , German about "Three times / three times" ( Chinese 最好的時光 / 最好的时光 , Pinyin Zuihao de Shiguang - "The best time") is a 2005 incurred French - Taiwanese episodic film of renowned director Hou Hsiao Hsien . Hou also wrote the script. The film is currently only available as an import.
action
The lovers in the 40-minute episodes are portrayed by Shu Qi and Chang Chen . The film tells three romances from 1966, from 1911 and from 2005, which invite us to look for similarities and differences. The design of the slowly developing drama takes up House's own work biography and also film-historical styles, for example reminiscent of Wong Kar-Wai or Yasujirō Ozu . Hou begins in a rural setting, leads us inside and finally moves into the vastness of a metropolis.
1966, Kaohsiung: Time of Love
The first movement , in particular, is almost minimalist with the extreme reduction of artistic means and above all silence , and it expands the motifs for the further film.
Young Chen is drawn to a waitress named Haruko in a billiards hall , even though he has to bike long distances to get to her in the rural surroundings. His first love letter with the text of a pop song does not reach the addressee, but is intercepted by the new employee May. He has also just signed up for Taipei in the military . Is played Free game and Snooker . Over the green cloth and the constant rebuilding of the balls, he soon falls in love with May in this "timeless" atmosphere (was shown proleptically ), but she gives up the job and moves to another, equally dark, gambling hall. He has to follow her three times by ferry, to Taichung , Chiayi and finally Huwei , and ask around from house to house. Until at some point they stand together in the rain in front of the station display board and he takes her hand.
1911, Da-Dao-Chen: Time of Freedom
The middle section is kept as a modern, colorful silent film , including subtitles and piano accompaniment, and breaks with today's viewing habits across the board.
In a noble flower house in Da-Dao-Chen , Ah Mei, courtesan and singer , could develop a relationship with the politically active Mr. Chang, if he were not so filled with the ideas of the new era and their poetry (with "Mr. Liang" is maybe Liang Qichao meant). In addition , world history will be made with the Wuchang uprising from October 10th. She needs money to buy a pregnant friend out of the establishment, and the rich Chang gives 100 out of 300 silver dollars. A contract is drawn up in the middle of normal business in the house, which is only lit by oil lamps. Even Ah Mei himself would like to be freed without them would ever admit it. Three generations of courtesans can be seen, he visits them three times. Chang realizes that the era of the flower houses is irrevocably drawing to a close, also through his own work as a journalist. When Ah Mei receives his letter from Tokyo three months later, she sheds a tear , all alone.
2005, Taipei: Time of Youth
This segment with the couple's three motorcycle rides through the megacity is literally the most (neon) colorful part of the triptych . Communication and the discotheque determine everyday life and emotions in these twenties . The episode seems to be chronological.
Jing is a rock singer who lives with a woman. She writes her own texts , runs a blog , and wears a ¥ tattoo on her neck. As a premature baby she is epileptic , has brittle bones, a hole in the heart and is blind in one eye. Right from the start she fell in love with the photographer Zhen, who in turn couldn't tell his girlfriend the truth. The episode culminates in a tragic missed call at 12:45, a text program that allows her lover announcing her suicide, and that this her friend Olika as suicide commits by plunges at 3:33 AM from the balcony (only on the soundtrack ). Where the final motorcycle ride would lead is left to the viewer's imagination.
Reviews
- “While the episode, located in 1966, is dramaturgically based on the correspondence between the protagonists, the […] middle chapter of the film is based on a separation of image space and subtitles. The last […] part consists of a purely visual substance saturated with graffiti, neon writing, tattoos, screens and photographs, to whose hypnotic pull the meaning of the characters must also capitulate. ”- Patrick Straumann, NZZ
- “Hou created a cinema that makes us think about the connections between the personal and the political, the past and the present, and thirdly, memory and film. [...] he finds grief within the limits of human experience, but comfort in its timelessness. ”- Elbert Ventura, Indiewire
- “The most proustic of the filmmakers [...] a world of flux and goodbye. ( this most Proustian of filmmakers […] his world of flux and farewell. ) ”- James Quandt, ArtForum
- "A [...] director who is not even so interested in the characters as in the free space between them [...] if there is a main topic, then 'Three Times' is about the inadequacy of written communication [...] "- Ben Kenigsberg, The New York Sun
- “In comparison, most of the other films are only half told. [...] History is never completely over, but here and now, a document that is constantly being (re) written; the present is fleeting, an image that disappears before being perceived; and the cinema […] is somewhere in between - a permanent recording, a fleeting moment, an inevitable fade out. ”- Chris Wisniewski, Indiewire
- “To watch this is like holding your breath […] There is no deeper message in this film. Love never has a deeper message. ”- Roger Ebert
- "An absolute mastery of space and rhythm, and a human softness that floods through every image." - Film Society of Lincoln Center
- “We see two people at different times, with whom we cannot establish contact, about whom we know next to nothing. Her romances, if any, appear hinted at and fleeting. I know that's part of the point of the movie, but it doesn't work. […] A first class boredom “- Molodezhnaja.ch
Sødtholt spoke of an "emotional film with an intellectual heart."
The film is in the IMDb on July 30, 2008 with 6.9 out of 10 points with the votes of 1519 viewers, in Rotten Tomatoes with 86 percent with 49 evaluated reviews (71 percent of 7 top critics), in Metacritic on July 31, 2008 at 80 percent with 22 evaluated reviews.
Backgrounds, miscellaneous
The song "Rain and Tears" by Aphrodite's Child (1968) is based on Pachelbel's canon (around 1680). " Smoke Gets in Your Eyes " can be heard in the version of The Platters (1958).
The Chinese title translates to "the best of the moments" ( the best of moments ).
Hou Hsiao-Hsien was originally only scheduled to direct one episode.
The silent film form in the middle section may also result pragmatically from the intention to avoid historical dialects and language coloring, as the New York Times suggests.
Roger Ebert notes that the " film distribution chain in North America to the prescribed, between you and Hou Hsiao-Hsien maintain the Wall" ( The movie distribution system of North America is devoted to Maintaining a wall between you and Hou Hsiao-hsien ).
Awards and nominations
Cannes International Film Festival 2005
- Nomination for the Golden Palm for Hou Hsiao-Hsien. The prize went to The Child of Jean-Pierre and Luc Dardenne.
Golden Horse Film Festival 2005
- Golden Horse Award in the Best Actress category for Shu Qi
- Golden Horse Award in the Best Taiwanese Film of the Year category
- Golden Horse Award in the Best Taiwanese Filmmaker of the Year category
- Nomination in the Best Actor category for Chang Chen
- Nomination in the category Best Art Direction for Wen-Ying Huang (as Hwarng Wern Ying)
- Nomination in the Best Cinematography category for Pin Bing Lee
- Nomination in the Best Director category for Hou Hsiao-Hsien
- Nomination in the Best Editing category for Ching-Song Liao and Ju-kuan Hsiao (as Hsiao Ru Kuan)
- Nomination in the Best Film category
- Nomination in the category Best Make Up & Costume Design for Wen-Ying Huang (as Hwarng Wern Ying), Su-jen Liao, Gin Oy and Kuan Yi Wang
- Nomination in the category Best Screenplay - Original for T'ien-wen Chu and Hou Hsiao-Hsien
- Nomination in the category Best Asian Film (Taiwan)
Yerevan International Film Festival 2006
- Grand Prix - Golden Apricot in the Best Film category for Hou Hsiao-Hsien
See also
Web links
- Three Times in the Internet Movie Database (English)
- Three Times at Rotten Tomatoes (English)
- Michael Koresky: Tight Little Island (Three Times: 2) in Reverse Shot # 23 (English)
- Stephanie Zacharek: "Three Times" at Salon.com (English)
- Nick Schager: Three Times in Slant (English)
Individual evidence
- ↑ According to Warner, no role designation. Charles R. Warner: Smoke Gets in Your Eyes: Hou Hsiao-hsien's Optics of Ephemerality. In: Senses of Cinema. 2006, accessed August 24, 2008 .
- ↑ a b cf. Jonathan Rosenbaum: History and Love. (No longer available online.) In: Chicago Reader. Archived from the original on July 25, 2008 ; Retrieved on August 12, 2008 (English): "But he isn't independent enough to take her as a concubine [...]" Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ a b Tony Rayns: Songs For Swinging Lovers. In: Sight & Sound . September 5, 2006, accessed August 3, 2008 .
- ↑ Kenigsberg: "a veritable greatest hits" .
- ↑ a b c Elbert Ventura / Chris Wisniewski: “A Time for Celebration”: Hou Hsiao-hsien's “Three Times”. In: Indiewire. April 24, 2006, accessed on August 17, 2008 (English): “Hou has created a cinema that forces us to think about the connections between the personal and the political, the past and the present, and memory and the movies. [...] finding sorrow in the limits of human experience, but solace in its timelessness. [/] almost every other film is half-told by comparison. [...] History is never really past but always here and now, a document constantly being (re) written; the present is ephemeral, an image that ceases to exist even before it's apprehended; and the cinema […] exists somewhere in between - an enduring record, a fleeting moment, an inevitable fade to black. "
- ↑ Rayns: “ organized around a set of motifs rather than any conventional dramatic structure. "
- ↑ a b c d e cf. Dag Sødtholt: The Complexity of Minimalism: Hou Hsiao-hsien's Three Times. In: Senses of Cinema. 2006, accessed August 24, 2008 .
- ↑ Sødtholt: " the ultimate repetition ".
- ^ Similar to Burdeau: "Now the written invades and paralyzes everything." Emmanuel Burdeau: Reading, Writing & Arithmetic. (No longer available online.) In: Cahiers du cinéma . November 2005, archived from the original on October 6, 2008 ; accessed on August 24, 2008 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Patrick Straumann: The cinematic expression in transition. In: NZZ . June 30, 2006, accessed March 17, 2019 .
- ↑ also Warner.
- ↑ a b also Weissberg.
- ↑ James Quandt: A certain slant of light: James Quandt on the films of Hou Hsiao-hsien. In: ArtForum. Artforum International Magazine, Inc./Gale, Cengage Learning, October 2005, accessed July 31, 2008 (English, www.artforum.com).
- ↑ Ben Kenigsberg: A Terrific Beginning for the Uninitiated. In: The New York Sun. April 26, 2006, accessed on August 3, 2008 (English): “A […] filmmaker less concerned with characters than with the spaces that exist between them […] if there is a running theme,“ Three Times ”is about the inadequacy of written communication [...] "
- ^ A b Roger Ebert : Three Times (Not rated). June 23, 2006, accessed July 30, 2008 .
- ^ Three Times. (No longer available online.) Film Society of Lincoln Center , archived from the original on July 24, 2008 ; Retrieved on July 30, 2008 (English): "an absolute mastery of space and rhythm and a human tenderness that suffuses every frame." Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Three Times - Zui hao de shi guang. Molodezhnaja.ch, accessed on July 31, 2008 .
- ↑ IMDb , see web links.
- ↑ Jay Weissberg: Three Times. (No longer available online.) In: Variety . May 21, 2008, archived from the original on October 10, 2007 ; accessed on July 30, 2008 (English). Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Manohla Dargis : Three Times (2005). In: The New York Times . April 26, 2006, accessed on August 1, 2008 (English): "[...] to avoid having the actors speak in a historical dialect"
- ^ Three Times. www.festival-cannes.fr, accessed on July 30, 2008 (English, French, with videos in French. http://www.festival-cannes.fr/en/article/43223.html ).
