2046 is a sequel, of sorts, to In the Mood for Love. Not a sequel in the strictest sense since it can stand on its own, but it is a continuation of the further affairs (literally) of lothario writer Chow Mo Wan (Tony Leung). In the 1960's HK, journalist/dime store novelist Chow has taken up residence in another apartment building. He engages in various relationships, mostly romantic, with varying beautiful women- Zhang Ziyi’s call girl, Carina Lau as a former flame, Faye Wong as the hotel owners daughter, and Gong Li’s mysterious gambler. But, despite his surface coolness he still pines for the woman (Maggie Cheung’s character from In the Mood for Love), who might just be his soulmate. He begins writing a sci fi tale called “2047." The story is about a future where one can travel back in time via train and one young mans android affairs while en route to his past. His writing reflects his inner struggle, that of trying to connect with someone, but eventually finding all of his relationships become a lost cause, a never ending circle, because although he is in the present, his heart is in the past.

Despite the period setting, Wong Kar Wai’s films are not so much evocative of a time and place but of a mood. The settings, wether it be the future or the past, is not as important as the overall feeling of rootlessness and longing. His film making process is one of riffing. He starts off with a sketch of the theme, characters, and setting, and begins to shoot. And shoot. And shoot. And shoot some more. His films are a long process of editing, re-shooting, and shaping the story until it congeals and the pieces fit like some poetic puzzle board. 2046, took around three to four years to make, including, apparently, reshoots/further editing after its last minute Cannes premiere. When Wong Kar Wai’s method works, it is like listening to a symphony in a grand concert hall. When it doesn’t, its like listening to a symphony on a static drenched radio.

2046 ends up living in its predecessors shadow. The bottom line boils down to this- In the Mood for Love was about two characters who were dealing with their passion for one another and the insurmountable obstacles of culture and commitment that kept them apart. 2046 is essentially about the loss of love, of mourning for a relationship that cannot be. Emotionally, there is just more ground to cover and interesting ways to show two people falling in love, rather than one guy pining for lost love and never resolving it. For instance, In the Mood for Love spoke volumes without a single word spoken between the two leads. 2046, on the other hand, relies on Chow’s internal monologues to tell us what he is thinking, so, at its very roots, that magnetism isn’t present.

But, it is a lovely looking piece of work. Largely thanks to another collaboration with ace cinematographer Christopher Doyle, the framing, sumptuous sets, and color schemes speak more than any of the dialogue could. The visual scheme, like it did with ,I>In the Mood for Love, has many lingering close-ups and shots filled/obscured with negative space. On visuals alone it is worth watching. The women, though most were underutilized, are gorgeous. He has some major league actresses, though only Zahng Ziyi and Faye Wong really have anything to work with, whereas the normally terrific Gong Li is unfortunately given a very underdeveloped role. (Of course, who knows? With Wong Kar Wai, you could also figure there are two movies worth of scenes for her character on the cutting room floor.) Still, Tony Leung is a great actor, and shows great chemistry with all of them. It is just a shame 2046 never quite rises to the emotional heights it is trying to convey....

Conclusion: ...an essentially flawed but undoubtably beautiful film.

2046 is a sequel to 2000's In the Mood for Love and continues the story of Chan Wo Man (Tony Leung Chui-Wai), who is heartbroken after not being able to be with his true love Su Li Zhen (Maggie Cheung). Chan moves into a hotel after seeing the number on one of the rooms (2046), and spends his time romancing various women while writing a science-fiction story. After a time, he concentrates his time on a prositiute (Zhang Ziyi) staying in the room next to his and the daughter (Faye Wong) of his landlord. As Chan starts developing real feelings from the women in his life once again, they give him inspiration, and he puts them (and himself) into his story. However, Chan's past never allows him to truly let his guard down and fully let the women he loves into his heart.

Like Wong Kar-Wai's other work, 2046 concentrates itself on the feelings of loneliness people carry with them, even when they are surrounded by people. Though Chan is with beautiful women who openly care for him, he cannot commit to them. It is through Tony Leung's wonderful performance that Chan Wo Man becomes something other than a character in a movie -- he becomes a real person. As an audience, we might want him to be with one woman, but it is through the performance that we know this can never be. Even though the ending is depressing, in this case, that is the only way it could be. Chan pouring his heart out and giving a warm embrace to these women would not fit. It might not be the way we as an audience would like things to happen, but, as in life, some things in film don't work out the way we imagine they should.

As regular readers of this site will know, I'm not much for "deep" movies. Hell, I'm a guy who used to run a Wong Jing tribute site. But there are some times when a movie qualifies as a work of art, and 2046 is one of them. It's one of those rare films that lingers with you long after it has finished. Even though it takes place in Hong Kong in the 1960's (and in some sort of alternate future), the themes here will resonate with just about anyone who has ever felt some sort of love in their life and then had to give it away.

The fact that 2046 is simply gorgeous doesn't hurt, either. Christopher Doyle's mad genius is once again in full effect, and, as always, the soundtrack compliments the film perfectly; as with "California Dreamin'" in Chungking Express, the use of "White Christmas" here gives the song a whole new meaning -- what is usually regarded as a joyful yuletide tune becomes a melancholy allegory for Chan's life. To sum up, 2046 is a fairly simple film on the surface, but unlike most every other movie coming out nowadays, there's actually some depth to it. If you consider yourself a film lover in any way, you owe it to yourself to at see 2046 at least once in your lifetime.