Chris Knipp
In a revealing interview included on the DVD, Hou Hsiao Hsien says he wanted "Millennium Mambo" to be a picture of Taipei night life and also "much more," a "multifaceted" film with "multiple points of view" that he would have liked to make six hours long; something post-modern and deconstructed and free-form and improvised, but "modernist" too in some aspects.The actual film isn't so much multifaceted or plot less as it is a portrait in the moment of a few people composed, with a voice-over from ten years later, from the point of view of a pretty middle-class girl called Vicky (The bee-sting-lipped, doe-eyed Qi Shu, who also stars in the present-day chapter of Hou's recent "Three Times") who's stuck in a dysfunctional relationship with a spoiled, also pretty, middle-class boy, the bleached-haired Hao Hao (Chun-hao Tuan), who does drugs and hits on Vicky when she least wants to be hit on and who won't work and, as Vicky's omnipresent voice-over tells us, at one point has stolen his dad's Rolex and pawned it for a lot of money. They live together and hang out at clubs and Vicky works at a bar as a "hostess," a euphemism for a lap dancer who does drugs and drinks with customers and probably has sex with them -- like Liang Ching (Annie Shizuka Inoh) the actress-narrator of Hou's 1995 "Good Men, Good Women." Vicky's bar job gets her involved with an older gangsterish man named Jack (Jack Kao, the actress Liang Ching's dead lover in "Good Men")."Millennium "Mambo" doesn't show us Taipei nightlife in any collective or panoramic sense. It shows us -- a few times -- the hazy corners of a few bright clubs with little crowds of attractive young people playing games and doing drugs and alcohol, and it shows us -- many times -- corners of the apartment where Vicky and Hao Hao live, and bits of a mountain town in Hokkaido, Japan where Vicky goes, invited initially by a couple of boys she meets.Atypically for Hou, the camera moves around quite a bit too in this film, following the people and hugging their faces and bodies -- but also lingering, in his old style, statically observing doorways, walls, light fixtures, or windows with a train going by outside. Many cigarettes are lit, many are smoked. Meth is puffed in a pipe. Hao Hao pouts. Vicky looks sad or angry. The couple break up, but Vicky comes back, or Hao Hao comes after her. It's approach/avoidance: he tells her she's from another planet, but he keeps getting her back. Jack is an oasis for Vicky; but at a crucial time in winter when she goes to Japan, he isn't available, leaving her a key and a cell phone, to wander the streets. She lies in bed. She stares out the window. In a long outtake on the DVD about her Japan sojourn, Jack actually calls her and she's got a cold. In the final cut, he never calls, and she remains healthy. What's left isn't much, though as always for Hou and for many Chinese directors, the visuals are lush and beautifully lit, even if the frames are empty and the plot line, though never absent as his interview promises, goes nowhere. "Millennium Mambo's" reference to the end of the millennium (and perhaps changes in China and Hongkong?) seems, like the six-hour movie and the portrait of Taipei nightlife Hou promises in his interview, to have come to us as little more than the pretty but empty fragments of a vague, lost intention. This is a remake of Antonioni's "L'Avventura," in winter, with young attractive Asians -- and Qi Shu as the new Monica Vitti -- but without the world-weariness or awareness of any sort of fading cultural heritage, and with, instead of Antonioni's haunting white noise, a nagging techno score.
jazzest
Concerning various aspects of everyday people's lives in Taiwan, it seems natural for Hou Hsiao-Hsien to desire to make a film about the doping youth in Taipei. But it may not be his realm and the attempt appears to be failed. Generally youth culture in a film shines when a youngster who is fascinated about it makes the film. It may not be impossible for the older to do it, but the filmmaker has to be at the youth's eye level. Hou Hsiao-Hsien did it from the older generation's viewpoint; as a result, even if it is accurately depicted, the youth scene looks dull. Besides, out-focused long takes, which Hou Hsiao-Hsien apparently adopted to yield the sense of being high, are just too painful to look at.
wildstrawbe
"Millenium Mambo" (Qianxi manbo) is a film about alienation, the pursuit of happiness and techno music. In a world that is too fast a young girl searches for an identity, in clubs, big cities and in the chaotic beats of techno music. The dialogue in the movie is there only where it's necessary which made it at least for me easier to identify with the main character. Vicky's relationships and her life seems to be shallow but it's not much different than anyone else's life and that's what makes this film so great. Qi Shu has done a remarkable job as Vicky and I'm really looking forward to see Hsiao-hsien Hou's next film.
stamper
This is a film you really do not want to see, for the film hasn't got a story. You won't mind for an hour or 70 minutes, but then the film will start to drive you mad. You'll be asking yourself: 'What's the point?' 'When will it end?' and more questions like that. You see the problem with this film is not that it is bad, but the problem is that it could have been much shorter. Yet the director decided to make it drag on forever and ever and ever and ...! Every single scene seems to be not only a bit, but much too long. A great example of that is the ending scene (if you stay long enough to see it). I knew already that the film was over, but it took ages for the film to actually end.
4 out of 10
