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Page 6<br />
“Can You Dream At 120 Frames Per Second?”<br />
The one person I knew who might have joined me for a midday screening of Ang<br />
Lee’s latest film Bi!y Lynn’s Long Hal"ime Walk had to beg off at the last moment, but<br />
I had no choice. Sony only booked the film into the Cinerama Dome at the Arclight<br />
Hollywood for one week in full 3D 120 frames-per-second, and there was no way I<br />
was going to miss seeing the film projected in the intended format at least once.<br />
After all, I love Ang Lee. Mostly. I’ve been a fan since Pushing Hands in 1992,<br />
and watching him progress from that film to The Wedding Banquet, which felt like a<br />
“big deal” in the arthouse world of 1993 and then to Eat Drink Man Woman, it felt like<br />
he was going to make these small tasteful films that dealt with real-scale human<br />
emotion, and he was going to do it very well. The jump from there to Sense and<br />
Sensibility was a surprising one, and it sort of shattered any easy definition of what we<br />
were going to be able to expect from him. Even so, The Ice Storm and Ride With The<br />
Devil were particularly vigorous left turns, and both films were bracing, alive, and full<br />
of an intense passion for filmmaking.<br />
For me, Crouching Tiger Hidden Dragon remains the best film that he’s ever<br />
made, and I adore it pretty much end to end. It’s not just one but two great love<br />
stories wrapped in a loving tribute to the entire tradition of martial arts cinema, and<br />
it entertains with ease. It is an amazing movie, and when it came out, I found myself<br />
going back over and over to see it on the biggest screen possible so I could just soak<br />
it up.<br />
From there, things are more sporadic in terms of my overall affection for his<br />
filmography. I admire the eccentric beauty of Hulk, even as I can explain to you<br />
exactly how it fails as basic storytelling. Brokeback Mountain is a strong, simple film,<br />
but it’s not one I return to over and over. Lust, Caution is an overlooked gem with an<br />
amazing score, and it’s actually a film I want to go back to soon. I feel like I still<br />
haven’t fully dissected what it is I love about the movie. I don’t care for Taking<br />
Woodstock at all. I just don’t think the film ever figures out a tone or a direction.
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