Wong Kar Wai and Fashion: An Analysis of Three Films and the Motifs and Themes Represented - Article Example

Wong Kar Wai and Fashion: An Analysis of Three Films and the Motifs and Themes Represented The incessant pressure to approaches, tactics, and ideas has created an unnecessary constraint upon many filmmakers within the current era. Critics oftentimes demean a filmmakers work as the result of the fact that similar stylistics or approaches are represented within two or more works. Yet, the fact of the matter is that personal stylistics and approach is not something that should be derided as indicative of a failed attempt at good filmmaking. For purposes of this particular analysis, the author will consider the case of Wong Kar Wai’s films Days of Being Wild, The Grandmaster, and Fallen Angels; discussing and representing each of these with respect to the singular way in which fashion is represented. It is the understanding of this particular student that even though the plot-lines of each of these films could not be more distinct and separate, the way in which fashion is represented and the means by which the main characters stand apart from the supporting characters based upon their overall fashion statements serves as an equally essential element to understanding and appreciating the film as does the dialogue itself. Therefore, by examining each of these films and seeking to draw a level of inference with respect to the way in which fashion is utilized as a mechanism for separating the lead characters and their actions from those of others, the following analysis will seek to represent a further level of understanding and discussion concerning a much overlooked aspect of Wong Kar Wai’s work and artistry. Rather than using fashion as merely a visual aid to the storyline that is being told Wong Kar Wai’s work actively incorporates it as a means of addressing variables that spoken dialogue or imagery another variety simply could not. Upon a review and analysis of Fallen Angels, the viewer is left with the very firm impression that the entire film is evocative of a dream like state and the means through which individuals create images of self worth, roles, and functions within society. Naturally, all of this is told within the backdrop of a “shoot-em-up”; however, the deeper realization of introspection and the role of the ego is nonetheless evident throughout. Going hand in glove with this representation for the way in which the ego seeks to define the individual, especially within the dream, Wong Kar Wai illustrates this further by parading a cadre of exceptionally well dressed, impeccably groomed, and extraordinarily good looking actors and actresses in front of the camera lens (Ching 639). Everything from the clothes they wear to the types of eye shadow that is utilized and the angles that the camera follows them is focused upon the fashion and visual appeal that they represent. Once again, such an approach helps to underscore the differential between reality and the ego/subconscious mind; illustrating how an idealized personal interpretation of self is so far removed and distant from the way it is represented within the real world. Ultimately, the way in which fashion is used within this particular film is not directed towards selling a particular look or even fitting the fashion of the individual with the scenes that they take part, instead, it is much more concentric upon defining the attitude, nature, and root understanding of the character as much as the physical actions they engage in or the dialogue that they speak with others. Likewise, the way in which the personal narrative that is defined by each character grows and is exhibited in various scenes is perfectly reflected through the use of fashion as a means of underscoring a high ego and sense of self worth in each of these. Similarly, the use of fashion within Days of Being Wild evokes an understanding that perfection of the exterior and the way in which the characters are represented to the viewer belies a much deeper emptiness and hardship that lies buried so obviously on the surface. Whereas the use of fashion within the first film that was analyzed served as a means through which the viewer could interpret the differential between the subconscious or ego and reality, the use of fashion within the second film is more as a comparison and contrast. As the viewer becomes more engrossed in the film and comes to understand the depth of the issues that are represented within the lives of the main characters, fashion serves as contrast point through which the perfection of style and clothing is reflected opposite the extreme personal hardship and moral corruption that exists within the main characters. However, a vein of similarity does exist between the two films; at least with respect to the way in which fashion is utilized and represented (Botz-Borntstein and Thornstein 107). This has to do with the way that the filmmaker uses fashion as a distinct mechanism that helps to separate the main characters from those that serve as the backdrop the storyline. Naturally, this is not a novel approach and has been utilized by a great litany of different filmmakers; however, it is the common thread that allows the reader to note the similarity between both of these otherwise dissimilar films. The means by which corruption and hardship are veiled within this particular film by clothing are not complete. Instead, the filmmaker allows for just enough evidence to point to the fact that the thin veneer is crumbling to draw the viewer’s attention to the underlying contrast that is being represented. The final film that will be analyzed within this brief response and discussion piece is that of The Grandmaster. Much as with the other two films, the plot-line itself is of primary importance to understanding how fashion is used by the director as a means of evoking a particular feeling (or set of feelings as the case may be). Of all the films, The Grandmaster is the most stylistic. However, beyond merely representing the most stylistic of the films, the viewer must also understand the subject matter of this film helps to separate it from the others. Ultimately ,the film delves into the world of Kung Fu and the means by which this tradition has come to separate society from those that believe they know it as compared to those that have mastered it (Chow 31). Not surprisingly, the film utilizes fashion as a means of representing the fastidious nature of the practitioners of kung fu. As anyone familiar with Eastern religion and/or culture can immediately denote, the focus on purity of mind and focus of purpose is central to many of the traditions and religions that are represented throughout the region. Accordingly, it comes as no surprise that the filmmaker chose to represent the singularity of purpose and fastidious nature of self composure through fashion (Botz-Borntstein and Thornstein 99). This was effected by ensuring that every costume and scene that was choreographed included main characters that did not have a single lock of hair out of place, a single wrinkle visible or a single outfit that was torn or otherwise dirty as a result of the nearly incessant fighting that was exhibited throughout the film. Although this is of course not in keeping with a realistic interpretation of the plot line, it serves a powerful purpose in of focusing the viewers attention on the core concepts of kung fu, and how the filmmaker wishes them to understand the life-altering impacts that it creates to the life and reality of the individual that considers themselves a “grandmaster”. From the information that has been presented, it is clear and apparent that the use of fashion by Wong Kar Wai is much deeper than merely a stimulating visual through which the actors/actresses are clothed (Mazierska 4). Instead, it helps to fill in untold elements of the plot and provides for a greater degree of understanding that the viewer might otherwise miss out on. Although the use of fashion within the three films is distinct, the singular similarity that is exhibited has to do with the fact that the filmmaker leverages perfection in fashion and dress as a means of showing deeper meaning behind the interpretation of world view/ego/hardship/or reality for the character(s) in question. Whereas each of the films in question might have functioned without the unique way in which fashion was leveraged as a means of relating the plot and elements of character personality or perspective, it is equally true that without these elements the films would not have made nearly as much sense or been able to engage in the degree of story-telling that they ultimately did. As such, rather than deriding the filmmaker for focusing so heavily upon the use of fastidiously perfect fashion on the characters within his films, a far better approach would be to look deeper and find the meanings behind this use of fashion and the manner through which it helps to define the environment and characters that interact within it. Although other filmmakers use fashion as a means of simply dressing the characters and representing them to the viewer, Wong Kar Wai’s approach is infinitely more complex and engenders the key elements that have thus far been alluded to the in course of this analysis. Work Cited Botz-Borntstein, Thorsten. "Wong Kar-Wai's Films And Fashion." Substance: A Review Of Theory & Literary Criticism 37.2 (2008): 94-109. Academic Search Complete. Web. 28 May 2014. Chow, Rey. "Nostalgia Of The New Wave: Structure In Wong Kar-Wai's Happy Together." Camera Obscura 14.42 (1999): 31.Academic Search Complete. Web. 29 May 2014. Ching, Leslie. "Sentimental Returns: On The Uses Of The Everyday In The Films of Wong Kar-Wai." New Literary History 33.4 (2002): 639. Academic Search Complete. Web. 29 May 2014. Mazierska, Ewa, and Laura Rascaroli. "Trapped In The Present: The Films of Wong Kar-Wai." Film Criticism 25.2 (2000): 2-20. Academic Search Complete. Web. 29 May 2014. Read More