Three Times

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I'm a fan of director Hsiao-hsien Hou, but even then I wasn't that fascinated by Three Times (2005). The film is split into three segments that take place in three different periods of time (1910's, 1960's and 2000's) where Shu Qi and Chen Chang appear in the central relationship. As you might guess from that, Three Times' major theme is love.

The first segment is a schmaltzy tale of a soldier chasing an adventurous woman in the 60's. Why do I call it schmaltzy? There is an abundance of pop music of the period that is so mind-numbing in the end that the music loses most of its impact. Even Aprhodite's Child's "Rain and Tears" had a surprisingly tame impact due to the frequent usage.

The second segment is an oddly pretentious effort for Hou. Most of the segment tries to imitate silent films by muting dialogue and sound effects yet changes nothing else so it's a Hou film without sound apart from a constant flow of music. I guess he decided to approach the segment that way since it takes place in the early 20th century. However it's not only distracting, but nearly terrible because Hou still relies on dialogue as much as he usually does so that means there are a lot of title cards that becomes rather tiresome after a while. It also has a very calm, dreamlike pace for no good reason.

The final segment is Hou's take on love in the modern age and I have to say it is clearly the most successful and interesting one. It is the most complex and interesting one and there are no formal deficiencies in the way either.

Apart from the oddities specific to each segment, the form is rather fluid. Hou's incredible photography and sparse editing are still as beautiful as they have always been. The musical choices are good even if occasionally misused. The greatest occasion must be the closing song for the final segment: it is so well as a continuation of the heart-aching ending. And if there's anything to be truly praised in this film it's Shu Qi's amazing acting. The innocent joy of the first segment, the elegance of the second segment and the fragile tour de force of the final segment are all top notch performances. I hope she will eventually be acknowledged as one of the greatest contemporary actresses.

Even though Hou doesn't have that much to say about love he approaches it from so many different perspectives that the film is at least satisfying. I wonder what would have happened to the film without Shu Qi.

Score: 6 out of 10

24 Realities per Second

Nina Kusturica and Eva Testor's documentary on Michael Haneke, 24 Realities per Second (named after a famous quote by the director), could have provided great insight into the work of one of the most fascinating European directors working today. Even though there are intriguing scenes of him working on the set and answering questions of the interviewers and the audience at a screening the clips don't hold together very well - especially because transitions are completely missing. 

Haneke's thoughts are interesting on their own, but in the end they are rather sparse and are not though-provoking because the structure of the documentary doesn't let them become memorable. Without giving a clear focus to anything the film is too fragmented to give a strong image of the director or the films he makes.

No matter how badly the presentation is failed the director is a fascinating person when he opens up for the camera and that makes the documentary watchable.

Score: 5 out of 10