Sorry, beloveds, but they’re actually doing construction on the ceiling tiles above our head. We fear for our safety. So, for safety’s sake only, you understand, we’re going to cut out early for the long weekend. We’ll be back Tuesday.
Why Nat King Cole’s version of "The Christmas Song" is heard two or three times is unclear; his songs were also heard in "In the Mood for Love."
Because it’s often Christmas in the film? Because it’s not so incomprehensible that Nat King Cole’s extremely popular recording would also be popular in cosmopolitan 60s Hong Kong? Or maybe Wong Kar Wai just liked it for his soundtrack? We love the film, but we’ll accept that there are plenty of fair criticisms one could make of it. The "it doesn’t make sense" angle that Ebert presents and Andrew O’Hehir also touched on in his earlier review just doesn’t do it for us. "2046" makes no motions towards adding up to some grand thematic whole (though for us, it did manage a grand emotional one), and when did it become such a great thing for a film to do so? We saw "An Unfinished Life" this week, a well-meaning film centered around one of the most awkwardly obvious metaphors we’ve seen on celluloid since that boulder crashed into Ray Winstone‘s pool in "Sexy Beast" (that, at least, was ironic).
We don’t have much patience with artiness for it’s own sake (well, unless it’s really cool-looking), but "2046" is hardly extremely oblique. We know you like your 60s Antonioni, Roger â€” are current films not allowed the same indulgence?
Anyway, "The Constant Gardener," best thing since sliced milk, etc., etc. Enjoy the weekend, folks.