Yi Yi 2000 123movies

Watch: 一一 2000 123movies, Full Movie Online – Each member of a middle-class Taipei family seeks to reconcile past and present relationships within their daily lives..
Plot: Each member of a family in Taipei asks hard questions about life’s meaning as they live through everyday quandaries. NJ is morose: his brother owes him money, his mother is in a coma, his wife suffers a spiritual crisis when she finds her life a blank and his business partners make bad decisions.
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Ratings:

	8.1/10 Votes: 24,814
	N/A | RottenTomatoes
	93/100 | MetaCritic
	N/A Votes: 400 Popularity: 16.993 | TMDB

Reviews:

Contemplative and Contemporary
This movie is a beautiful piece of art. Every shot of the movie is like a painting in its own right. Hats off to cinematographer Wei-han Yang for getting so many splendid images on film. From his serene reflective shots against a city nocturnal background, to innovative bird eye-view shots, to neat mirror shots, to the perspective of the bedridden grandmother in a coma, to cars passing by in front of the actors, to gorgeous corporate buildings… everything on camera was meticulously thought out.

Director Edward Yang uses this visual candy diligently and incorporates it nicely into his narrative. His script is very poetic and allows for a lot of reflective pause… which is, you’ve guessed it, supported by silent stunning images. The characters feel very real and their problems and concerns move us. The little boy is simply adorable and his perspective on life is quite refreshing. The dialogue is rich and intelligent and if you listen carefully you’ll understand why this movie is so long… But the length does not drag the movie. Rather it allows us to think and to appreciate. There is enough material in this movie (both words and images) to have anyone musing for days if he so desires.

The ending of the movie is very well done and you don’t really know if you feel like laughing or crying at that point, but you certainly know that you have just witnessed an amazing movie, a movie without proper description. Because like Yang chose to do, I should just be silent and let you enjoy.

“Yi Yi” – few things are as simple as ones and twos…
In the early new century, late Taiwanese director Edward Yang broke out from under the radar with his epic modern masterpiece and last film Yi yi (2000), a tender refreshing subtle drama centred around a domestic family. Remaining one of the most critically acclaimed films of the century, it’s a shame that Yang left us before making another film but did broaden eyes to his other obscure works such as A Brighter Summer Day (1991) and The Terrorizers (1986); as all the practiced methods in these films come to their highest point of intimacy in Yi yi. Shuffling between a range of moods and themes, the focus and basic premise of Yi yi is a middle-class family in Taipei over the course of one year, beginning at a wedding and ending at a funeral. The characters disband and we follow each subplot discovering and developing each of them; the father (N.J.) spends time with his long lost first love, imagining what his life could have been and studying his past behaviour; the mother (Min-Min) who feels trapped in her status of housewife; the daughter (Ting-Ting) who discovers first love; and the son (Yang-Yang) who evaluates his surroundings. Other prominent characters include the husband and bride of the afore mentioned wedding and the soon to be deceased.

The pivotal theme of Yi yi is in general the love we give and receive all throughout life – although this is not demonstrated in any chronological order within the film. First, there’s the love a baby receives (which the bride from the wedding carries throughout the film) from the whole family and the parents – of which this mutual and constant love remains for eternity. Then as a young child, Yang-Yang, he just begins to notice girls and the effect they have on him. His sister plays the teenager representation, who seeks the opposite gender for sexual attention; a supposed illusion of love. As an adult, or when maturity is apparently complete and they’re getting married, there’s the love from the family and the strong attraction between the couple themselves. Later in middle age, when possibly this appeal fades (as presented by the fact N.J. and Min-Min take some time apart) there’s the assumed love from ones children, peers and the sensation of reminiscing past ‘loves’. Once one reaches old age there’s the love from and to the whole family. Another theme is the representation of modern family life, working on superstition, traditions and behaviour. This being shown by the fact the entire family lives near or together, especially when one is weak. Also, the wedding is intentionally set on a particular date just because it’s a supposedly lucky day on the almanac calendar (also giving their child a ‘lucky’ name). It also shows how materials and possessions are useless without any form of love.

N.J. is one of my favourite and most fascinating characters in cinema. He’s passive, understanding and rarely aggressive; even stereotyped by his colleagues as the ‘honest-looking type’. For example, when he witnesses an unfriendly brawl due to an unwelcome guest, he avoids joining in and waits for it to calm down before considering making his entrance. But by this disturbance, he feels the occasion is ruined and kindly refuses to join though he doesn’t judge any of the people involved. When Yang-Yang prefers to eat McDonalds rather than food at the wedding he indulges and makes no fuss. After this particular scene, he encounters an ex-girlfriend by an elevator who confronts him for standing her up at a date several years ago. N.J. does not respond. Throughout a much later set meeting in the third act, we discover that N.J. was in fact the nervous type, which leads us to evaluate his current behaviour against his old one – there’s the use of parallels by having his study of his past behaviour over his daughter and her boyfriend’s first date, following these patterns. Though he has reached a new stage in his life and he’s finally comfortable with the woman, he doesn’t feel the attraction. When it comes to business, he is very calculating, understanding what to do but when he feels pressure he escapes to music. Plus he is co-operative but not dominating.

Due to all these themes and the effect of personal impact it had on me, I refer to this film as the most enlightening and life-affirming film of all-time for me. This is mostly because the film has entirely convinced me that its theories are true and they are very comforting and therapeutic, despite the equal balance of happiness and sadness. According to the director, Yi yi literally translates to “A One and a Two…”, like the phrase bands say before their performance. It’s as if everyone is only getting ready and this is one big rehearsal. Or it is one big irony because, as Edward Yang has stated; ‘few things in life are as simple as ones and twos”, unlike the situations in the film. It is an incredibly rewarding and satisfying experience, if emotionally draining. There’s also a very reassuring quote from the film I love; “My uncle says… we live three times as long since man invented movies. It means movies give us twice what we get from daily life. For example, murder. We never killed anyone, but we all know what it’s like to kill. That’s what we get from the movies.” This is the natural beauty of film and my inspiration. I think the thought of this film could carry me throughout my whole life.

One of my favourite films of all-time.

10/10

Other Information:

Original Language zh
Runtime 2 hr 53 min (173 min)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Drama, Romance
Director Edward Yang
Writer Edward Yang
Actors Nien-Jen Wu, Elaine Jin, Issei Ogata
Country N/A
Awards 15 wins & 25 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory CMPC Film Laboratory (negative developing), Sony PCL (negative developing), Taipei Motion Pictures (negative developing) (printing)
Film Length 4,876 m (Spain)
Negative Format N/A
Cinematographic Process N/A
Printed Film Format 35 mm