Movies as life are a mix of happy and sad emotions, they are so concurrent to life that we fidget with the possibility of them coming true. They have the power to transform a mind, implant or steal an idea from you, and stay and with you like an organism. After meandering on Netflix like a milling crowd in Times sq., I promised myself that this weekend I will watch a meaningful movie. I was going through articles from Harvard Film Archive (HFA) and it’s when I stumbled upon Edward Yang’s work. East Asian cinema has given us gems of directors such as Kurosawa, Takeshi Kitano, Hou Hsiao-Hsien and their work is unparalleled. The line of thought is authentic and relatable. HFA ‘s article can be found here : http://hcl.harvard.edu/hfa/films/2008septoct/yang.html
Surprisingly enough New York Times published an article on Friday on the best 25 movies of this century so far and it did included Edward Yang’s work which I would consider a magnum opus. It’s as grand as Tolstoy’s war and peace and as real as the pathos of Kazuo Ishiguro – The remains of the day. If one thinks about the movie then there is nothing really special about it. It’s a movie that has all stages of life in it played by different characters, the movie starts with a wedding and concludes with a demise; it’s a movie about how different people handle the situations differently- from Yang Yang, the budding photographer to his father NJ, whose honesty doesn’t finds a place in a world driven by profit. The restless search and struggle for something meaningful, the creativity driven by and despite frustration is something one can relate to. It’s a very human movie; it takes time, experience, internal struggle, and external manifestations for characters to realize that they are human. The setup of the movie is in Taipei, one of the big cities in the world and it takes an artist’s perspective to put inanimate objects and concepts as artists and characters. The cities, though founded on the traditional values, offer global views but lack the humanness and one has to wade through them, weed out a lot to reach one’s destination. Yang Yang who likes to take photograph of back of people’s head is embodiment of a marvelous concept that we don’t see the entire truth, only half of the truth at one time. One memorable dialogue from the movie is between Yang Yang and his father in which Yang Yang says “I can’t see what you see and you can’t see what you see, so how can I know what you see?” For solving this paradox, Yang Yang starts taking photos of back of people’s heads so people will know what they can’t see, a concept though lucid but difficult to assimilate with.
Yi-Yi translates to one and two, and may be Edward Yang wanted to say “as simple as one and two”
Sonder is a word that means “the realization that each random passerby is living a life as vivid and complex as your own”. The movie justifies the existence of the word.