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| | Film Quarterly: Suzhou River. . - Review - movie review |
 | | Suzhou River is not a remake, like Psycho (1998) for Psycho (1960) or Point of No Return and Black Cat for La Femme Nikita or even The Magnificent Seven for Seven Samurai--it revitalizes its "source," riffs on it, makes it new. |
 | | In Suzhou River, on the other hand, there are two interrelated pairs, and the psychologies cross gender lines: both Moudan and the narrator are in love; both Meimei and Mardar are obsessed. |
 | | Wong Kar-Wai's film emphasizes the relativism of our lives and love stories, and is told, as it were, from within, but an omniscient narrator tells it from within, or at least an omniscient filmmaker, so to speak, who moves freely between the different narrator-characters' interiorities. |
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