MUBI

The second of Wong Kar Wai’s breakout 90’s trilogy of jumbled urban life refracted through a hazy neon lens of post-modernism, following “Chungking Express” with a similar two-story arc about a hitman in love with his unseen partner, and a young mute man eager to please his customers, with other people’s businesses. Wai and famed DP Christopher Doyle keep the visuals constantly dizzying, utilizing neon lights, and an endless array of distorting lenses, long takes, and close-ups, to achieve a feeling of restlessness, and the way the story (pieced together on set without a script) bounces between seemingly unrelated A-plots, the symbolism of impossible love and wanderlust in a grim urban world is perfectly realized. And even if you can’t follow the story, or are bothered by Doyle’s precious art cinematography, there are still the actors, and stars like Michelle Reis and Takeshi Kaneshiro are stunningly beautiful.

As a person who watches way too many Asian action/martial arts films, it was glaringly obvious to me that parts of this film were riffing on John Woo’s HK movies (the Killer and Hard Boiled) in how it shows the double pistol gun fights (and violence in general). Wong adds sexuality and repression where Woo had sentimentality and bravura. The “look” of the film is very intentional.

Also, I always thought of Blondie (or both blondies) as a reference to western, or foreign invasion of Hong Kong. And I think the scene with the blond blow-up doll is hilarious.

But the movie really gets me at the final shot: “such lovely warmth.” And the song “Only You,” by the Flying Pickets. British pop with two Chinese actors riding a moped through a Hong Kong tunnel. Quite direct for such an abstract, moody film.

A eerily dreamy film, it follows two alienated Hong Kong males’ quirky efforts for romance. Hands down my favorite Wong Kar Wai flick, if not favorite film in general. It’s the type of film I feel you really need to have spent some time living in a massive Asian metropolis to truly ‘get’, but will nonetheless leave a lingering emotional impact otherwise. If you have found yourself chain smoking on the balcony of your cramped East Asian apartment, gazing off at the collage of glowing billboards and advertisements, contemplating love and solitude, this is the film for you. A++

First movie I’ve watched from this director.

More of a formalist study than a dramatic one. The individual scenes are composed as microcosms emphasizing a primary theme. People occupy the same space and yet never connect. Each character’s actions and language (or lack) are almost undecipherable to those they wish to communicate with. Distance is emphasized by showing the actors through windows, mirrors, TV monitors, and even a decorative waterfall.

At times a bit too stylish-for-style’s-sake, and some of the manic improvised scenes don’t quite work, but overall a beautiful and funny film.