[ThisWeek] 2046 at the Kenworthy Performing Arts Centre

[thisweek at kenworthy.org]

This week at the Kenworthy Performing Arts Centre-

Kenworthy Film Society presents
2046 (R)
Friday, December 2
7:00 PM
Saturday & Sunday, December 3 & 4
4:00 & 7:00 PM
$5/Adults
KFS passes accepted for Sunday showings
(see Review below)
* * *

Next week at the Kenworthy Performing Arts Centre-

Sirius Idaho Theatre announces
Auditions for Sight Unseen, by Donald Margulies
-- Obie award for Best New American Play in 1992
(Script available for preview at BookPeople of Moscow)

Open Auditions 
7 pm - Thursday, December 8th
at the Kenworthy Performing Arts Centre, 508 S. Main St. Moscow, Idaho

Prepared monologues appreciated, but not required

Rehearsals begin the first week of January; performances February 2-4 &
9-11, 2006

Characters:
Jonathan, 35-40
Patricia, 35-40
Nick, 40s
Grete, 25-30

Jonathan and Patricia are American; Nick is English. Grete is German; her
English is excellent, if accented.  Jonathan has maintained his
working-class Brooklyn accent; Nick¹s rural, working-class speech finds its
way into his University accent, particularly when he¹s been drinking; and
Patricia¹s dialect suggests that of an expatriate New Yorker living in
England.

For more information about the play or to volunteer with Sirius Idaho
Theatre
contact Pam Palmer, Managing Artistic Director, at 208-596-2270
<siriusidahotheatre at gmail.com>
or visit the web site of Sirius Idaho Theatre
http://www.siriusidahotheatre.com/

Sirius Idaho Theatre is a 501(c)(3) non-profit organization.
Tax-deductible donations are appreciated - and essential.

³Let the beauty you love, be what you do.²
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Junebug (R)
Friday, December 9
7:00 PM
Saturday & Sunday, December 10 & 11
4:15 & 7:00 PM
* * *

Also in December at the Kenworthy Performing Arts Centre . . .

Serenity (PG-13)
December 16
7:00 PM
December 17 & 18
4:15 & 7:00 PM

Coming in January: The Squid & the Whale, Paradise Now, Oliver Twist

Check KPAC¹s web site for dates & times. http://www.kenworthy.org

Regular Movie prices:  $5 adult, $2 child 12 or younger
KFS passes accepted year-round for Sunday movies!
* * *

This week¹s review-

2046

Written and directed by Wong Kar-wai
Presented in Cantonese, Japanese and Mandarin, with English subtitles
Rated R (Under 17 requires accompanying parent or adult guardian). Contains
nudity, sex scenes and some violence
Running time: 2 hours, 9 minutes


As reviewed by Jeffrey M. Anderson writing for the San Francisco Examiner

After years in production and countless re-shoots Wong Kar-wai's expensive
and mysterious "2046" finally emerges as a fully formed and astoundingly
beautiful masterpiece.

Tony Leung more or less reprises his "In the Mood for Love" character, Chow
Mo-wan, a pulp writer circa the late 1960s. After visiting an old flame in
her hotel room, he returns several days later only to find that she has
disappeared. Since her room is as yet unavailable, he checks into 2047 and
proceeds to have a series of encounters and relationships with the several
women who move in next door, to 2046.

"2046" lurches back and forth within an elastic time frame. We meet Chow's
various women, each with her own unique dynamic. The landlord's daughter
(Faye Wong) is secretly in love with a Japanese man (Kimura Takuya), and
Chow helps smuggle her love letters into the building.

He also insinuates himself into the life of a lovely call girl, Bai Ling
(Zhang Ziyi), and even gets her to pay him for his favors. Gong Li co-stars
in a flashback as a woman with the same name as Maggie Cheung's "In the Mood
for Love" character, spurning Chow's sad, dreamy advances. Wong inserts
ghostly blips of Cheung to round things out.

In a fantasy sequence ‹ the visualization of Chow's in-progress pulp novel ‹
we delve into the super-saturated futuristic world of 2046, where people go
to retrieve lost memories. Stretching reality into Chow's pulp novel fantasy
world, Faye Wong appears again as a robot that coaxes genuine feelings from
a hapless human voyager, played by her Japanese lover Kimura Takuya. With
its awesome colors and shapes, this astonishing section resembles the best
parts of "Blade Runner."

Endlessly impressive, "2046" is a culmination and an expansion of everything
director Wong has done before, all of the lost loves and missed connections,
crammed and scattered into one gorgeously detailed, richly textured film.
Every cigarette, every dimly lit hallway, every scrap of color struggling to
be seen against the golden gloom, feels deliberate and definite.


As reviewed by Philip French writing for the London Observer

There have been welcome sequels to two of the most romantic movies of recent
years - Before Sunset, in which the lovers of Richard Linklater's Before
Sunrise have a reunion in Paris, and Wong Kar Wai's 2046, in which Tony
Leung's Chow Mo-wan returns from Singapore to Hong Kong where he had his
Brief Encounter-style affair with Maggie Cheung's Su Li-zhen in In the Mood
for Love.

The time is now the late 1960s, Hong Kong is undergoing a period of civil
unrest and the career of Chow, the handsome philanderer, is on the skids,
reducing him to writing serialized pulp fiction. Living in the rundown Hotel
Oriental, where he is drawn through the death of a beautiful woman he's met
in Singapore, Chow is fixated on Room 2046. This becomes the title of a
sci-fi fantasy he's writing, in which people can take a mystical train (one
leaves every hour) to the year 2046 where nothing ever changes and you can
recover your fondest dreams.

As Chow writes, he conducts affairs with a singer, a whore, a mysterious
gambler and the hotel owner's daughter, who is forced to communicate with
her Japanese fiancé through him because her father is a Nipponophobe. It's a
swirling brew of lyrical images contrasting soft and acid colors, merging
real-life encounters with their transformation into often bizarre fictions.

With voice-over musings given as much prominence as what people actually
say, one is reminded of the French cinema of the early 1960s and what we
called 'the memory movies' of Alain Resnais and Alain Robbe-Grillet. It also
has a kind of Groundhog Day quality in the way in which Christmas comes
around and around, introduced each time by a rendition in extenso of Nat
King Cole's 'Christmas Song'.

A lovely, plangent film.

As reviewed By Carina Chocano writing for the Los Angeles Times

A serial lover meditates on longing and the passing of time in Wong
Kar-Wai's '2046.' "All memories are traces of tears," says Chow Mo Wan (Tony
Leung) at the beginning of "2046," Wong Kar-Wai's long-awaited follow-up to
"In the Mood for Love," and a gorgeous, fevered dream of a movie that blends
recollection, imagination and temporal dislocation to create an emotional
portrait of chaos in the aftermath of heartbreak.

"2046," like the sequentially numbered story within it, is a lyrical,
Proustian meditation on loss, regret, love and time ‹ the marching on of
time being the cruelly inexorable constant in both. "Love is all a matter of
timing," Chow writes later, as his loves blend together in a music of
free-associative rumination. "It's no good meeting the right person too soon
or too late."

Wong brilliantly blends musical styles and eras to create an intoxicating
mood. Building on the theme created by Shigeru Umebayashi for "In the Mood
for Love," the soundtrack mixes bel canto, 20th century Latin nightclub
standards and lonely instrumental solos to create a feeling of nostalgia for
eras gone by. The cinematography by Christopher Doyle, Kwan Pun Leung and
Lai Yiu Fai is as lush as it is oblique, peering through doorways and
screens, slowing to a stop at heartbreaking moments.

Designed and edited by William Chang Suk Ping, "2046" evokes a lost time in
a place ‹ Hong Kong ‹ already redolent of dislocation and evanescence. The
title also refers to the closing of 50 years of autonomy promised to Hong
Kong after its hand-over to China in 1997. "Nothing lasts forever," Chow
says casually at the beginning of the movie, which then goes on to make a
solid and haunting case for the permanence of his memory and longing, which
clearly will.


Film reviews researched and edited by Peter Haggart
* * *
  
Kenworthy Performing Arts Centre
508 S. Main Street, Moscow, Idaho
208-882-4127
Sign up for this weekly email on events and movies at the Kenworthy by
logging onto our website
http://www.kenworthy.org

~~~~~~~~~~~~~~~~~~~~~~~~~~~
PAMELA PALMER, Volunteer
Mailto:ppalmer at moscow.com
Film and Events Committee
Kenworthy Performing Arts Centre

http://www.kenworthy.org
To speak with a KPAC staff member,
call (208) 882-4127
Mailto:kpac at moscow.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~
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