導演:美拉娜兒(Mira Nair)
(Sabrina Dhawan)

The Three Crossovers of Sound of Colors

Adapted by Joe Ma, Sound of Colors is actually a creation with the characters of Jimmy Liao's illustrated book of the same name. From Joe Ma to Wong Kar-wai, from Hong Kong to Taipei and Shanghai, then back to Jimmy Liao and Hong Kong cinema, there are in fact three crossovers in this film, more than the director thinks. But the addition of these parts fails to be greater than its sum, which, after all, is what crossover is meant for.

Joe Ma Crosses Wong Kar-wai

《地下鐵》的三重Cross over














Infernal Affairs III - Style over Substance

Infernal Affairs III adds Leon Lai and Chen Daoming to its cast, which is a smart box office calculation. But creatively speaking, it has not been given much room to maneuver. Much effort has been put into the arrangement, as seen in the inversion and crosscutting narration. It should a challenge to the general audience. Part of the editing is painstakingly done, especially in the transition from scene to scene. But the development has lost the gripping suspense that marked the first film.

Infernal Affairs III - A New Way Out for Local Crime Thrillers

Infernal Affairs is a brave jump from clichéd undercover genre of fiery actions to the battle of wit like the Catch Me If You Can type. Instead of the overly familiar gang wars, this is more in the league of duel of professional grade hi-fi system. The sacrifice of Anthony Wong is truly heroic, and the 'three-year after three-year' trial of Tony Leung is a test of perseverance. Brain is preferred to brawn. It can't be more true when Tony Leung says in the film, "Listen to it, it sounds so empty." Infernal Affairs has become the pride of local cinema and high officials.

A Way Out in Internal Affairs III

Lau Kin-ming, Chan Wing-yan, Yeung Kam-wing: three Hong-Kongers. In Infernal Affairs, the death of Chan Wing-yan, an undercover (conflicting loyalties) commonly found in local cinema of the 80s and 90s, gives an option of making a way out to Lau Kin-ming, the new type of undercovers (triad mole in the police) of the new millennium. But in the end, in Infernal Affairs III, he fails to pass the hurdle in the form of Yeung Kam-wing, who doesn't have to be an undercover. He fails to find his way out and is trapped in the lawn outside the hospital.

The End of the Hong Kong Identity - Infernal Affairs III

Near the end of Infernal Affairs, Chan Wing-yan points a gun to Lau Kin-ming's head. It was the critical moment of the Hong Kong identity - in the end, Chan Wing-yan, who represents the common fate (serving two masters) of undercovers in local cinema, meets his demise in the hand of Lau Kin-ming who has chosen to turn good (return to the motherland). It declares the end of the Hong Kong identity.