Enchorde Recap: This is the story about Vicky. Or not so much the story of, but the life of Vicky. We get to see a few episodes of her life, how she starts out with an abusive and jealous boyfriend and how she manages to leave him for Jack, a criminal that offers stability.Comments: This, as stated, is not a story. This is more of a picture, or a few pictures from Vicky's life. There is no real beginning, no real end, and hence no real story in between. We just get to see moments from her life. Moments from home, moments from work, and moments from nightlife.The pace is very slow, and it did not do very much to keep me interested. But something caught my eye. And that was that director Hou often chooses to place the camera in a way that I got the feeling it wasn't supposed to be there. It was not natural, it was almost like the camera was intruding. Many shots were from odd angles and shot through flowers, or through holes in the furniture. The actors were not naturally centered in the picture, and stuff happened both on and off camera. By doing so, to me, Hou really cemented that this was not a movie about a story, but more a look into Vicky's life.Interesting and as well done as that was, I still didn't enjoy it very much. Yes, beautiful in its own way, but much to slow-paced for me. To little to really keep me interested through the entire 100 minutes. But still nice to have seen once, as this is a typical award-winning movie.5/10

FilmSnobby Apparently, the major critics were not willing. Hou Hsiao-hsien is no longer the Flavor of the Month, if the reception given to *Millennium Mambo* is any guide. Hou may no longer be trendy, but his latest film remains a masterpiece -- just another notch on the Master's belt. The critics castigated Hou for wasting our collective time with a movie about a party girl; simultaneously, they praised the juvenile *Kill Bill* to the skies. The critic for the New York Times essentially declared that the artistry in the movie wasn't worth it. The critic was "bored" by the artistry.Meanwhile, those of us who are NOT bored by Hou's artistry may enjoy a feast of it in this edgy, profoundly sad movie. It's set in Taipei in 2001, though the narrating heroine "Vicky" (a gorgeous Shu Qi) speaks to us from 10 years in the "future". The film was actually MADE in 2001, though it didn't reach American shores until earlier this year: hence, an unintended poignancy arises from the fact that we, too, are looking at the film's events from the future -- a jaded, rancorous, post-September 11 future. We feel as despairing as the narrating Vicky sounds, and observe the decadent nightlife depicted here with the same sense of disbelief: were we really that hopeful, were we really that careless, when the new millennium was ushered in? In the first scene, she's walking -- almost dancing, really -- down a long concrete promenade under pale florescent lights, while the wall-to-wall techno music starts thumping ever louder. It's a moment of incandescent happiness in a movie that has few such moments.For the unpleasant details soon assert themselves: she's getting spacey on drugs in a nightclub, returning home to a live-in boyfriend who is abusive, on drugs himself, and erratically but dangerously jealous. One scene, at once nasty and blackly humorous, shows the boyfriend literally sniffing for evidence of adultery on Vicky. The girl occasionally rebels at these indignities and leaves the jerk, but, "as if hypnotized", she always returns whenever he finds her and begs her to come back to him (and he ALWAYS finds her). Hou instinctively understands the self-destructive persona, and he meticulously illustrates Vicky's addictions, whether to cigarettes, booze, "excitement", or degrading sexual relationships. The narration gives us a crucial clue, as well: we learn that this boyfriend of hers convinced her to blow off her final high school exam years back, which basically made her a drop-out and started her on a path toward a wasted life. Hou also understands WHY we're self-destructive; he understands that failure is so much easier.Occasionally, we get a break from the woozy-headed, nauseous neon underworld of Taipei and find ourselves in a snow-covered fantasyland on the Hokkaido island of Japan. Here, while frolicking in a winter wonderland with a casual Japanese boyfriend and his brother, Vicky reverts, with much relief, to childhood. There's a poignant moment when she leaves an imprint of her face in a mound of snow. The camera lingers lovingly on the image of the barely visible imprint -- it's as convenient a symbol as any for the barely visible life of a pretty party girl without talents or prospects, the type of girl one usually sees only fleetingly in movies about more melodramatic subjects like gangsters (and, yes, this movie is about gangsters, too). She's the hanger-on, the pretty ornament on the arm of the criminal. Well, leave it to Hou Hsiao-hsien, the world's greatest working director, to dare to assert that the Vickys of the world not only have a story to tell, but that their stories can be as bleak and nihilistic -- and as artfully rendered -- as any of your King Lears. It goes without saying that the Hou's camera placement is utterly and simply without peer. If anything, *Millennium Mambo* marks an advance in his technique: he takes a little more control, here, and is not quite so blandly omniscient as he can sometimes be. It's hard to write about technicalities, but Hou somehow has managed to find the perfect balance between a focused POV and his more usual reliance on oblique reference points. His cameraman, Mark Lee Ping-Bing (of *In the Mood for Love* fame), gloriously realizes Hou's vision with incredible color: smeary and throbbing neon in Taipei, ethereal and misty white in Japan. Finally, Hou has also convinced me that techno and "Deep House" music can actually approximate art . . . as long as this type of music is paired with, well, a movie by Hou Hsiao-hsien. (See his *Goodbye South, Goodbye* for more evidence.)*Millennium Mambo* is a must-see for the cineaste. 9 stars out of 10.

sprengerguido This wonderful film clings to my mind since I've seen it. This is not due to the story, but for the visual concept. At first, the story seems to be the usual fantasy insecure parents have about their teenage children getting lost in a world they don't know any more - in this case, a fragile young girl spending her time in the bars and clubs of nocturnal Taipei. But it is much more a coming-of-age story, told in a melancholy mood from a future perspective, mourning and accepting all the hardships it took. This is what the visuals of the film tell, more than the dialog or plot: Each scene is filmed in a single shot. Hou, or rather Mark Li, used available light most of the time, which actually produces meaning here: The scenes in bars and clubs are shot using very light-sensitive, so images are very grainy, dark, but warm and very color-intensive - one seems to be inside a protective womb, which becomes gradually oppressive. The forces that keep the girl inside are represented by her neurotic boy friend, who watches her constantly and keeps her from making exams.After she becomes a stripper, she meets Jack, a gangster but very decent guy who gradually leads her out of this world - in one scene he actually drives her out of a dark tunnel into bright daylight in his car. The outside scenes, given less sensitive film stock, are much clearer, but it's winter most of the time - contrary to the bar scenes it's cold, gray and white, but clear. The ending promises a life in the outside world, with occasional relief provided by movies. Shouldn't we all appreciate this? (... and the soundtrack is wonderful...)

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