Hou Hsiao-Hsien Retro: Three Times

Wenn irgendwer in der Kinozeit zwischen Ingmar Bergman und Leos Carax vergessen hat wie man eine Frau filmen muss, damit sie gleichzeitig als eine individuelle Kraft erscheint, die unkontrollierbar, dämonisch und eigenwillig agiert und als tender-touch Begierde, durch die Augen eines sehnsuchtsvollen, mit Kamerablicken verschlingenden Regisseurs, dann bringt einem „Three Times“ von Hou Hsiao-Hsien mit seinem zärtlichen Rhythmus der Melancholie in einen Zustand des traurigen Verliebens, der genau wie Bergman und Carax die Poesie in den kleinen Regungen der Zuneigung sucht und sie genauso hart entblößt und zu Boden gehen lässt. Die Frau ist in diesem Fall Qi Shu, ein taiwanesischer Superstar mit Wurzeln im erotischen Film/Fotografie. Hou Hsiao-Hsien hatte die über seine beleuchteten Böden schwebende Frau schon in seinem „Millenium Mambo“ besetzt und in „Three Times“ spielt sie gleich drei verschiedene Rollen, immer als Objekt der Begierde oder Sehnsucht, immer mit Chen Chang als ihr Pendant. Doch ihr wahrer Partner scheint die Kamera zu sein. Eine Frau, die in ihrer Filmographie unter anderen als May, June, Mango, Shadow, Bitter, Cat, Messenger of Hell, Grace und Angel geführt wird, wird in „Three Times“ auch genauso behandelt. Die Berührungen der Kamera gleichen immer wieder einem ersten Kuss oder gar nur jenem Moment, wenn man den Atem einer Liebe zum ersten Mal auf seiner Haut spürt. Sie bewegt sich am Rand des Bildes, immer wieder ist es ein Schwenk, der ihre roten Lippen, ihre Haare oder ihre Schultern streift.

Three Times

Three Times

Der Film erzählt drei Liebesgeschichten mit denselben Schauspielern auf drei Zeitebenen: 1966, 1911 und 2005. Am Anfang steht wie schon in „A City of Sadness“ das Licht, eine Aufblende, es hängt an der Decke. 1911 wird dieses Licht in Form einer Kerze wiederkehren, 2005 eine Neonröhre, blaue Töne in der Dunkelheit. 1966 (der Teil trägt den Titel: „A Time for Love“) wird viel Billard gespielt, die Pool-Boys und Pool-Girls, eine unfassbare Szene gleich zu Beginn: Nach den schwelgerischen Schwenks über die farbigen Kugeln und die Lippen der Frau sieht man einen jungen Mann auf dem Fahrrad, immer wieder gibt es im Film die Einstellung des Billardtisches mit der Frau vor einer leicht geöffneten Tür. Dort fährt nun das Fahrrad unbemerkt vorbei. Nach kurzer Zeit kommt es zurück. Der junge Mann gibt der Frau einen Brief. Die Kamera schwenkt langsam von ihren zittrigen Händen hinauf zu ihrem Gesicht, in der Hoffnung einen Ausdruck zu finden (der Mann ist bereits weg). Als man den Ausdruck fast sieht, packt sie den Brief hastig zur Seite. Immer wieder wird die totale Einstellung mit der Tür im Hintergrund eingesetzt werden, sie wird zu einem Sehnsuchtsbild wie fast alles in „Three Times“. „Rain and Tears“ gibt den Rhythmus vor, es ist das Lied 1966, schon ein wenig viel Konzept, denn jede Zeit hat ihr Licht, ihr Lied, ihre Farben und doch bleibt alles gleich. Auch die Einstellungen kehren wieder, weil die Gesichter und Momente sich wiederholen. „Three Times“ ist „Cloud Atlas“ für Menschen mit Geschmack? Zwischendurch gibt es Bootsfahrten. Der Mann ist beim Militär und schreibt Briefe. Als er zurückkommt, um sie zu sehen, ist sie weg. Er beginnt, sie zu suchen. Wieder wird über die Billardtische geschwenkt, eine Elegie oder die Kunst mit der Kamera zu lieben. Der Opiumrausch aus „Flowers of Shanghai“ mit seinen wippenden Schwenks hallt hier nach. Nur findet der Blick in „Three Times“ Halt bei Qi Shu, während er in „Flowers of Shanghai“ mehr und mehr betont, dass er in den Mauern der Bordelle gefangen ist. Als sie sich finden, zeigt Hou Hsiao-Hsien, warum banale Sentimentalität und sentimentale Banalität zusammengehören. Der Mann kommt von hinten in das Nebenzimmer (die Frau arbeitet wieder am Pooltisch). Sie bemerkt ihn zunächst nicht, ist in einem Spiel, flirtet sogar. Dann sieht sie ihn. Sie lacht. Sie kann nichts sagen. Ein anderer Mann übernimmt das Spiel. Das Spiel geht im Vordergrund weiter, die Männer verdecken zum Teil den Blick auf die wiedervereinten, berührungslosen Liebenden. Sie lachen. Irgendwann trinken sie, er sitzt, sie lacht, sie schauen. Wir schauen. Ein Fest des Blicks. Dann rauchen sie. Später werden sie zusammen essen und wieder hängt eine Lampe im Bild.

Three Times

Three Times

Warum Hou Hsiao-Hsien dann auf einen Stummfilm-Pseudo-Minimalismus Effekt in seiner zweiten Episode „A Time for Freedom“ wechselt, ist mir ein großes Rätsel. Natürlich spielen Worte und die Art und Weise wie diese ausgetauscht werden in den drei Filmen eine große Bedeutung (Briefe 1966, Zwischentitel 1911 und SMS 2005), aber wenn inmitten der exakt beobachtenden Liebeslyrik, den kleinen Gesten und Blicken, die Hou Hsiao-Hsien gewohnt präzise beobachtet, Zwischentitel platzen, dann wirkt das wie ein gewollter Verfremdungseffekt, der Bewegungen und Blickstruktur des Films schadet. Die zweite Episode spielt in einem Flower House. Es geht um die „Er liebt mich-Er liebt mich nicht.“-Beziehung einer Kurtisane zu einem Geschäftsmann, der allzu sehr ein Mann/Opfer seiner Zeit ist und dabei womöglich seine Gefühle übersieht. Durch die aufgesetzte Stummfilmstruktur wird man schnell von der klimpernden Begleitungsmusik eingelullt. Zudem springt der Regisseur in dieser Episode so sehr durch die Zeit, dass man sich am Ende fragt, ob es wirklich noch 1911 ist. Seine Blenden kommen hier nicht wie in „Flowers of Shanghai“ (an den der Film ja schon alleine wegen seines Settings erinnert) aus dem Druck einer Notwendigkeit, sondern wirken eher wie ein hektisch zugezogener Vorhang im Theater, der verschleiern soll, dass etwas schiefgeht. Sie macht Musik, dann „The Wuchang Uprising“, harter Schnitt. Hou Hsiao-Hsien thematisiert wie immer die Geschichte seines Landes. Sie liegt in den Motivationen der männlichen Figur, in der Kommunikation, in Ereignissen am Rande des Geschehens, an den Transportmitteln, in der Musik. Damit einher geht ein großer Gestus, den der Regisseur mit einer gewissen Gleichgültigkeit aufwiegt. Am Ende steht ein Verlassen, keine Vereinigung.

Three Times

Three Times

Schließlich springen wir auf ein Phantom Ride Scooter-Bild nach Taipeh 2005, „A Time for Youth“. Mit dem Sprung in die Gegenwart findet Hou Hsiao-Hsien auch wieder einen Rhythmus, der den Blick und den Moment zur Hauptsache des Kinos macht. Mann und Frau stehen an einer Unterführung am Straßenrand, sie weint. Später sind sie in seiner Wohnung, blaues Licht durchdringt hier alles, er fragt sie, ob alles in Ordnung sei. Im abschließenden Teil seines Films bewundert Hou Hsiao-Hsien Körperlichkeit. Ein in seinem Kino seltener, langer Kuss, eine erotische Spannung, die durch den Film weht. Plötzlich spielen Augen eine Rolle, Füße und die Sehnsucht wird von den Bildern an der Wand auf den Nacken der Frau projiziert. Besonders beeindruckend kommt dieses körperliche Verlangen bei einem Konzert zum Vorschein, bei dem der Mann Fotos von der singenden Frau macht. Ansonsten handelt es sich um eine klassische Dreiecksgeschichte. Die Frau hat eine Beziehung mit einer anderen Frau und betrügt sie mit dem Mann. Als man sich dem Paar hingegeben hat, ist man plötzlich alleine mit der betrogenen Frau, sie wacht in der Nacht auf, ihre Freundin ist nicht da. Ein Zusammenleben ist nicht mehr relevant, die Beziehung ist zu einem Driften über die Straßen, durch die Clubs geworden. Manchmal wirken die allgemein gültigen Botschaften, die man in die einzelnen Episoden in Bezug zu ihrer Zeit machen kann, etwas arg bemüht, aber man kann auch nur der Kamera folgen, sich mit ihr verlieren, mit der Frau verlieren. Am Ende steht diesmal beides. Ein Verlassen und ein Finden. So wie die Kamera ständig verlässt und findet. Am Ende bleibt sie und damit unser Blick zurück, ein Phantom Ride, der in zähfließenden Verkehr gerät, während die Protagonisten auf der rechten Spur in der urbanen Wüste verschwinden.

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  61. What i do not understood is actually how you are now not actually a lot more smartly-favored than you might be now. You’re so intelligent. You understand therefore significantly with regards to this subject, produced me for my part consider it from numerous various angles. Its like women and men don’t seem to be fascinated until it is something to accomplish with Girl gaga! Your individual stuffs excellent. At all times maintain it up!

  62. Apple at the moment incorporates Rhapsody as an application, which is a excellent start out, yet it is previously hampered as a result of the lack of ability in direction of store domestically on your iPod, and has a dismal 64kbps bit value. If this adjustments, then it will somewhat negate this advantage for the Zune, yet the 10 new music for each month will nevertheless be a large in addition within just Zune Pass‘ choose.

  63. The fresh Zune browser is shockingly Fantastic, nonetheless not as favourable as the iPod’s. It will work well, yet is not as instantaneous as Safari, and incorporates a clunkier interface. If on your own at times software on working with the web browser which is not an issue, still if you might be planning toward read through the world-wide-web alot towards your PMP then the iPod’s larger sized exhibit and superior browser might be considerable.

  64. I loved as much as you’ll receive carried out right here. The sketch is tasteful, your authored subject matter stylish. nonetheless, you command get bought an impatience over that you wish be delivering the following. unwell unquestionably come more formerly again since exactly the same nearly very often inside case you shield this hike.

  65. I do agree with all of the ideas you have presented to your post. They’re very convincing and can certainly work. Still, the posts are very quick for starters. May just you please lengthen them a little from subsequent time? Thanks for the post.

  66. Among me and my spouse we have owned further MP3 avid gamers higher than the yrs than I can rely, like Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etc. But, the past pair several years I have resolved down toward a single line of gamers. Why? Due to the fact I was delighted to come across how well-designed and pleasurable toward seek the services of the underappreciated (and widely mocked) Zunes are.

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