Days of Being Wild (Wong Kar-Wai, 1990)

Leslie Cheung and Maggie Cheung in Days of Being Wild

Cast: Leslie Cheung, Andy Lau, Maggie Cheung, Carina Lau, Rebecca Pan, Jacky Cheung, Tony Leung Chiu-wai. Screenplay: Jeffrey Lau, Wong Kar-Wai. Cinematography: Christopher Doyle. Production design: William Chang. Film editing: Kai Kit-Wai, Patrick Tam. Music: Terry Chan. 

The Hand (Wong Kar-Wai, 2004)

 Cast: Chang Chen, Gong Li, Feng Tien, Chun-Luk Chan, Jian-Jun Zhou. Screenplay: Wong Kar-Wai. Cinematography: Christopher Doyle. Production design: William Chang. Film editing: William Chang. Music: Peer Raben. 

Wong Kar-Wai’s The Hand was made as a segment for an anthology film called Eros, which also included films by Michelangelo Antonioni and Steven Soderbergh, neither of which were critically well-received. But The Hand has since been released by itself in an extended version, although it remains somewhere between the length of a feature and that of a short subject, just under an hour, so it’s rarely shown except to film classes or at festivals – or in my case, on the Criterion Channel. It should be better known, because it’s an exquisite sample of the director’s art, a languorously beautiful exploration of a relationship. It’s at the other end of the spectrum of Wong’s work from his raucous excursions into the world of Hong Kong youth, As Tears Go By (1988) and Chungking Express (1994). It has more in common with what some think is his masterpiece, In the Mood for Love (2000), the intensely poignant study of a doomed love affair. There is hardly even an affair in The Hand, the story of a courtesan and the tailor who makes her dresses. When Zhang (Chang Chen) first meets Miss Hua (Gong Li), she is at the peak of her success at attracting wealthy clients. Amused by the diffident young tailor’s apprentice, she imperiously orders him to take off his trousers and gives him a hand job. Over the years, her fortunes decline, but Zhang continues to make her dresses and eventually pays the rent for her room in a fleabag hotel. The film is framed by their last meeting, in which it’s clear that Miss Hua is dying, possibly from an STD. We see part of this final encounter at the start of the film, in which the camera focuses only on Zhang’s face – we don’t see her until the film flashes back to that first meeting and begins its story of their intertwined careers. Beautifully shot by Wong’s frequent collaborator, Christopher Doyle, the film also benefits from a score by Peer Raben, who had a similarly productive collaboration with Rainer Werner Fassbinder. 

As Tears Go By (Wong Kar-Wai, 1988)

Cast: Andy Lau, Maggie Cheung, Jacky Cheung, Alex Man, Ronald Wong, Ang Wong, Huang Pa-Ching. Screenplay: Jeffrey Lau, Wong Kar-Wai. Cinematography: Andrew Lau. Production design: William Chang. Film editing: Cheong Bei-Dak, Kai Kit-Wai. Music: Danny Chung, Teddy Robin Kwan.

It takes mastery of a genre to transcend that genre, as Martin Scorsese did with the gangster film and Douglas Sirk did with the romantic melodrama, and Wong Kar-Wai does just that with his first feature, As Tears Go By. Scorsese looms larger here, in that his Mean Streets (1973) was an acknowledged influence on Wong’s film, but I can’t help seeing touches of Sirk in the portrayal of the romance between Wah (Andy Lau) and Ngor (Maggie Cheung). Yet Wong is very much his own man, and the film is a smashing (in all senses of the word) success full of fire and energy, yet able to show the ameliorating effect that Ngor has on the initially standoffish Wah, preoccupied with making his way in the underworld and defending his friend Fly (Jacky Cheung). The use on the soundtrack of Sandy Lam’s version of Giorgio Moroder and Tom Whitlock’s Oscar-winning “Take My Breath Away” evokes its source, Top Gun (Tony Scott, 1986), but it also accentuates the pop-culture-saturated milieu in which the action and the romance take place. 

Fallen Angels (Wong Kar-wai, 1995)

Leon Lai and Karen Mok in Fallen Angels

Wong Chi-ming / Killer: Leon Lai
The Killer's Agent: Michelle Reis
Ho Chi-mo / He Zhiwu: Takeshi Kaneshiro
Charlie / Cherry: Charlie Yeung
Punkie / Blondie / Baby: Karen Mok
Ho Chi-mo's Father: Chan Man-lei

Director: Wong Kar-wai
Screenplay: Wong Kar-wai
Cinematography: Christopher Doyle
Production design: William Chang

Feverish, fascinating, and violently funny, Fallen Angels is a kind of companion piece to Wong Kar-wai's Chungking Express (1994), sharing some of the same setting and, in a very different role, the actor Takeshi Kaneshiro. I'm not steeped enough in Asian pop culture to appreciate it as fully as some, but I found its frantic camera tricks and frequently over-the-top acting somewhere between tiring and tonic. I'm glad I saw it, but I'm more glad that Wong showed us that he could move on from the frenzied youth culture of these early films to the mature brilliance of In the Mood for Love (2000).

Watched on Filmstruck Criterion Channel

Happy Together (Wong Kar-Wai, 1997)

Leslie Cheung and Tony Leung Chiu-Wai in Happy Together

Lai Yiu-fai: Tony Leung Chiu-Wai
Ho Po-wing: Leslie Cheung
Chang: Chen Chang

Director: Wong Kar-Wai
Screenplay: Wong Kar-Wai
Cinematography: Christopher Doyle
Production design: William Chang
Music: Danny Chung

The title, of course, is ironic: Lai Yiu-fai and Ho Po-wing are anything but. In short, Happy Together is another of Wong Kar-Wai's studies of frustrated passion, though unlike the heterosexual couple in In the Mood for Love (2000), Lai and Ho have each other as a physical outlet for passion -- the frustration comes from their blocked desires to have their relationship transcend sex. Any happiness they might find together is prevented by incompatibility: Lai is steady and hard-working, Ho is unfettered hedonism. It's never made explicit why they have chosen to exile themselves in Argentina, other than that Buenos Aires might be presumed to offer a more tolerant environment for a gay couple than a Hong Kong threatened by the transfer to the People's Republic of China that took place in the year of the film's release. As it turns out, exile serves mainly as a catalyst for their breakup. This is, in short, a character study, and a fine one. Leslie Cheung and Tony Leung give searing performances as the volatile lovers, and Wong Kar-Wai wisely concentrates the film on them, providing only one other witness to the intensely destructive entanglement of Lai and Ho: a young Taiwanese named Chang, out to see the world, who works in a kitchen with Lai. In fact, Chang sees only Lai's side of the relationship, although the fact that he is gifted with heightened powers of seeing and hearing suggests that he perceives more than he can interpret. Chang is presented as rather asexual -- perhaps gay, but not experienced enough to make any sort of move toward Lai -- and as such serves as the perfect foil for Wong's portrait of the erotic time-bomb that is the relationship of Lai and Ho. The film ends poignantly with Lai, having finally broken completely with Ho, returning to Hong Kong, but making a stopover in Taipei where he visits's Chang's family's food stall, but narrowly missing the chance of a reunion with Chang. It's another missed connection in a film filled with them.

Watched on Filmstruck

Chungking Express (Wong Kar-Wai, 1994)

The American title, Chungking Express, may echo Josef von Sternberg's 1932 Marlene Dietrich classic Shanghai Express, but it resembles that film only in the presence in both of a blond femme fatale -- and in Wong Kar-Wai's film the blond is one only by virtue of a wig. The translated title -- the original meant something like "Chungking Forest" or "Jungle" -- fuses the film's two major settings: the Chungking Mansions, a low-rent building in Hong Kong, and the Midnight Express, a sandwich shop that provides the linkage between the film's two segments. The first part deals with the infatuation of a young police detective, He Qiwu, aka Cop 223 (Takeshi Kaneshiro), with the woman in the blond wig (Brigitte Lin), who is mixed up in a drug-smuggling scheme that goes awry. The second part tells the story of Cop 663 (Tony Leung Chiu-Wai), and his involvement with Faye (Faye Wong), a young woman who works the counter at the sandwich shop. You might say that Chungking Express begins in the world of film noir and ends in that of romantic (and slightly screwball) comedy, but Wong's film transcends the simplicity of genres. As in his masterly In the Mood for Love (2000), Wong is dealing with characters on the brink of an uncertain future, but with a much lighter touch than the later film. The performances are uniformly fine. Faye Wong, a Hong Kong pop star, brings the quirky character of the young Shirley MacLaine to her role, but with a much greater fragility. Like MacLaine, she has been unfairly labeled with the Manic Pixie Dream Girl stereotype. The extraordinary cinematography is by Christopher Doyle and Wai-Keung Lau.

In the Mood for Love (Wong Kar-wai, 2000)

In the British Film Institute's Sight and Sound critics' poll of the greatest films of all time, Wong Kar-wai's In the Mood for Love placed at No. 24, in a tie with Rashomon (Akira Kurosawa, 1950) and Ordet (Carl Theodor Dreyer, 1955). I have to admit that I wouldn't rank it quite so high, especially putting it on a par with the other two films, but its intense, elliptical love story -- one in which there is no nudity, no sex scenes, and in fact not even a consummation of the affair -- is certainly unique and challenging. It's a film whose claustrophobic settings occasionally reminded me of the below-deck scenes in L'Atalante (Jean Vigo, 1934). The would-be lovers, Chow (Tony Leung Chiu-Wai) and Su Li-zhen (Maggie Cheung), are as trapped in their Hong Kong rooms as the newlyweds in L'Atalante are on their river barge, with the additional limitations that they are trapped in their marriages, in their offices, and in the social conventions of the 1960s. In one marvelous sequence she is trapped in his room when their landlady, Mrs. Suen (Rebecca Pan), comes home earlier than expected and then stays up all night playing mahjong with the neighbors, preventing her from leaving and adding fuel to the gossip but also fueling their intimacy. It's a masterstroke that we never see their respective spouses or even receive direct confirmation of what Chow and Su Li-zhen suspect: that her husband and his wife are having an affair with each other. They can't redouble the scandal by openly pairing off with each other, and in the end the paralysis becomes so ingrained in them that they are unable to consummate their relationship even when they are liberated from their claustrophobic living arrangements. Wong makes the most of the cinematography of Christopher Doyle and Mark Lee Ping-bin, framing them in the clutter of the offices where they work, focusing intensely on them as they meet in restaurants, using a variety of techniques such as slow motion and swish-pans, always with the effect of emphasizing their alienation. The score is often exquisitely appropriate, with themes by Michael Galasso and Shigeru Umebayashi as well as pop recordings by Nat King Cole and others. The historical references -- the tension evident in Hong Kong as it approaches the handover by Britain to China, a 1966 newsreel featuring Charles de Gaulle, Chow's final scene in Angkor Wat -- strike me as an unnecessary attempt to give the relationship of Chow and Su a connection to something larger than just a frustrated love affair. The story is poignant and resonant enough without them.