Word: kar
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Dates: during 2000-2009
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...become just another struggling local mini-industry. Part of the problem is the brain drain to the U.S. of directors like Woo and top stars Chow Yun-fat and Jet Li. Even the great cinematographer Christopher Doyle, the Australian Emigr? whose bold, painterly eye set the palette for Wong Kar-wai's moody dramas, has gone traveling again...
From the hyperactive Kung Fu of Bruce Lee to the lush atmosphere of Wong Kar-Wai to the sideburns of Nicholas Tse, Hong Kong has given more than its share to world cinema. Now the territory's beleaguered film industry is asking for a little something back. Last Wednesday the Federation of Hong Kong Film Workers asked the government to underwrite loans for local movie productions and to lobby Beijing for greater access to mainland China. Without government financial backing, film veterans say, Hong Kong cinema might be on its last take. The numbers aren't encouraging: local box receipts...
...mosque's site. The campaign captured public imagination and the BJP did well in the general election of 1991. In 1992, it brought its masses to the mosque once again. As BJP leaders, including L.K. Advani, now the country's Home Minister, watched - professing to be shocked - trained kar sevaks (holy volunteers) broke down the mosque with iron rods and sledgehammers. That set off riots by Muslims across India, particularly in Bombay, its commercial capital. As usual, the Hindus followed. A month later in Bombay, three days of rioting killed nearly 500 Muslims. It was among the worst communal slaughters...
...Doyle went on to collaborate with the giants of Asian cinema, Chen Kaige (Temptress Moon) and more recently Zhang Yimou (Hero), but it is with Hong Kong director Wong Kar-wai that Doyle made his mark?and look: hand-held, jump-cut and radically chic. That began with Days of Being Wild (1991) and, six films later, found sublime perfection with In the Mood for Love (2000). Here, what began life as a comedy evolved, over 15 months of improvization and reshooting, into a masterpiece of slowly condensing passion. "A Wong Kar-wai film is kind of like cooking school...
...Starbucks coffee shop. There's not the manufacture of Zhang Ziyi, the "wing collar" of Karen Mok, the Monroe of Shu Qi, or the candy-cute of Cecilia Cheung Pak-chi. She doesn't nurture distance with the audience. "She's just like a boy," says Wong Kar-wai. "She tells you everything directly, she talks from the heart. Very few people are born to be an actress, but she's one of them." Anyone for more wine...