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Throughout the film, I used Milos Raickovich's "Sonata for Piano" (1989)*, elegantly performed by Nancy Loo 羅乃新 . I broke the piano soundtrack only once with Joni Mitchell's "Blue,"** which I think evokes a time in Mitchell's life when she had to give up her daughter for adoption - hence its relevance for Bauhinia's situation -- and of course there was this line in her lyrics: "an empty space to fill in." I used Raickovich's sonata because of its lyricism, shadowy dramatic overtones, and touches of melancholy. Later I found out that he wrote the piece at a time when he was carrying on a long-distance, ultimately frustrating romance with an Asian woman. So there is quite a bit of angst, uncertainty and yearning in the music. Nancy herself observed that Milos's piece is quite gloomy. "It keeps building up to something that isn't there," she said. We all build our lives toward something. But where might we actually land we never can tell. In the film, Bauhinia's worst nightmare might be over, but there's still a hole in her dream. -- Evans Chan |
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