#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – (1) “A Time for Love”: In 1966, in Kaohsiung, Chen meets May playing pool in a bar when he is joining the army. He sends letters to her and he comes to the bar to meet her again in his leave. However, May had traveled to another place and Chen seeks her out. (2) “A Time for Freedom”: In 1911, in Dadaochend, the writer Mr. Chang works for Mr. Liang and frequently travels to a brothel, where he meets the singer. He financially helps the courtesan Ah Mei to become a concubine. When the singer asks him if he would help her to leave the brothel, there is no answer. (3) “A Time for Youth”: In 2005, in Taipei, the messy relationship of the photographer Zhen, his girlfriend Jing and a bisexual singer.
Plot: There are three stories of women and men: in “A Time for Love” set in 1966, a soldier searches for a young woman he met one afternoon playing pool; “A Time for Freedom,” set in a bordello in 1911, revolves around a singer’s longing to escape her surroundings; in “A Time for Youth” set in 2005 Taipei, a triangle in which a singer has an affair with a photographer while her partner suffers is dramatized. In the first two stories, letters are crucial to the outcome; in the third, it’s cell-phone calls, text messages, and a computer file. Over the years between the tales, as sexual intimacy becomes more likely and words more free, communication recedes.
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Flashes of Hou’s brilliance
Three Times, the latest film from Taiwanese master Hou Hsiao-hsien is a lyrical, sensuous, but disappointing collection of three love stories set in 1911, 1966, and 2005. Marvelously performed by Shu Qi (Millennium Mambo) and Chang Chen, the film is both a retrospective of Hou’s earlier work, a historical study of a culture, and a cogent statement about how social limitations affect each person’s ability to relate. The message, however, that social restraints and modern technology hampers our ability to connect with one another is hardly new and, though depicted via Hou’s gorgeous minimalism, was not enough to allow me to become emotionally involved with the characters.
Utilizing a traditional three-act structure, the mood of the film shifts from one time period to the other but the position of the women remains significant. The first segment is set in 1966 and is titled “A Time for Love”. Uncharacteristically, Hou uses pop songs as background to the episode involving a chance encounter between Chen, an on-leave soldier and May, a young woman who works at various pool halls in different Taiwanese towns. The songs, repeated throughout the segment in the style of Hong Kong director Wong Kar-wai, are the Platters 1959 version of the thirties love song “Smoke Gets in your Eyes” and the 1968 hit by Aphrodite’s Child “Rain and Tears”. Chen becomes attracted to May after returning to visit a previous pool girl to whom he had written love letters while away in service.
Both watch each other carefully across smoky pool tables but are forced to leave and the remainder of the segment follows Chen as he attempts to track May in local pool halls across Taiwan. Though the first act contains some poetic moments of mutual attraction, it is mostly teasing in its elusiveness. May and Chen rarely speak and when they do, it is mostly about snooker. Nonetheless, Hou creates an atmosphere of tension as the lovers, perhaps like Taiwan itself at this time, must choose between remaining comfortable in their status quo or taking risks to engender more intriguing possibilities.
Set in 1911, act two, “A Time for Freedom”, takes place in a concubine reminiscent of Hou’s beautiful but claustrophobic Flowers of Shanghai. This 35-minute segment contains no dialogue, simply intertitles as in silent films and a tinkling piano in the background. Hou’s ostensible reason for using this device is that he was unable to recreate the Taiwanese spoken language of the period. Though this is understandable, I doubt if many would have noticed and the absence of dialogue for that long a period of time comes across as an affectation. In this section, the two lovers from the first segment are now reprieved as master and concubine. The master is a political activist who writes articles promoting independence and provides financial help to a concubine pupil to allow her to achieve the status of companion.
Unfortunately, he does not address the issue his concubine is most concerned about – her own personal freedom, and he remains indifferent as she expresses her longings, again perhaps reflecting the political idea that Taiwan was not capable of independence at this time. The final chapter brings us to the modern world of freeways, cellphones, and text messaging. Named “A Time for Youth”, the title of this segment is steeped in irony. No longer a subtext, the lack of communication fostered by modern technology reminds us of previous films by the director that eloquently conveyed the apathetic self-indulgence of modern Taiwanese youth, Goodbye South, Goodbye and Millennium Mambo. Unlike Goodbye South, Goodbye, which employed colored filters to highlight the garishness of modern Taipei, however, the city in the current film is now dark and foreboding.
The characters are a photographer, his girlfriend, a rock singer, and her own female lover. The singer is torn between these two lovers and I was frustrated by the intrusion of the female lover who acts as a brake on a fulfilling possibility between the two main protagonists, promised in the opening two segments. Though most likely true to the director’s intentions, the final section feels artificial and cold and Three Times, while bearing flashes of Hou’s brilliance, comes across as a cinematic exercise, an appealing concept that is ultimately unsatisfying.
Surprisingly unremarkable slow love story trilogy of two characters set in three different eras (1966, 1911, and 2005) of Taiwan
Tonight, a friend and I saw the critically acclaimed “Three Times” at a local theatre. The description that the theatre’s site had posted is:
‘The film features three different stories of love and memory through three time periods, 1966, 1911 and 2005. The first, “A Time for Love,” hinges on the meeting of soldier boy Chen with pool hall hostess May and his subsequent search for her. The second episode, “A Time for Freedom,” deals with a courtesan tending to a Mr. Chang during the Japanese occupation of Taiwan. And the third episode, “A Time for Youth,” centers on epileptic singer Jing who casually takes up with photographer Zhen while increasingly ignoring her female lover.’
Neither of us left the film understanding what the commotion could have been about. We both reasonably enjoyed the episode taking place in 1966 – it is sweet and innocent, and all the characters seemed happy. In the 1911 episode, the characters were all imprisoned by duty-bound roles, and happiness was not readily apparent. In the gritty modern 2005 final episode, all trace of innocence and happiness seemed to be whisked away in the detritus of the modern anonymous city.
The best scene for me was in the first part; in the sweet romance blooming between our two protagonists, Chen (played by Chen Chang) reaches his hand down slowly to clasp the hand of May (Qi Shu). But rather than enjoy many such touching scenes, I was left a bit puzzled by the dearth of interest, to me, in the rest of the film.
I had expected that Hsia-hsien Hou, cited as filming subtle scenes of beauty, would have cleverly used the three parallel histories, perhaps weaving them and interchanging them nonlinearly, or somehow relating them. All I saw was the coincidental use of two characters in love stories of three different eras. The film was slow; if it were entirely to have taken place in the 1960s, I could have described “slow” with more positive phrases, such as, perhaps, “subtly engaging” or “innocently unwinding” or maybe even “softly touching”. I would give the film 5 1/2 or 6 stars out of 10.
–Dilip Barman, Durham, NC, Friday, August 4, 2006 (quote from Carolina Theatre, Durham NC website)
Original Language zh
Runtime 2 hr 19 min (139 min), 2 hr (120 min) (USA), 2 hr 12 min (132 min) (France), 2 hr 15 min (135 min) (UK), 2 hr 19 min (139 min) (Toronto International) (Canada)
Rated Not Rated
Genre Drama, Romance
Director Hsiao-Hsien Hou
Writer T’ien-wen Chu, Hsiao-Hsien Hou
Actors Shu Qi, Chang Chen, Fang Mei
Country France, Taiwan
Awards 8 wins & 19 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Film Length 3,390 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 500T 5218, Vision2 250D 5205)
Cinematographic Process Digital Intermediate (master format), Spherical (source format)
Printed Film Format 35 mm