"Chungking Express" feels like something of a breath of fresh air. Perhaps it's the tragicomic storylines, cast of future all-stars, striking cinematography or lively, persistent soundtrack, but this is certainly a fun cinematic palate cleanser. And that's certainly what it was for director Wong Kar-wai, whose lengthy, troubled production for the ambitious but flawed kung-fu epic "Ashes of Time" hit a production break, leaving him with a hole in his schedule that needed filling.
What resulted was a fast-turn around, written-as-they-went ensemble piece, where characters are stuck in Wong's favourite place: yearning for a love which will remain unfulfilled. Any frustrations "Ashes of Time" may have been giving him are miles away, with Wong in his element and having fun while at it. His most light-hearted film, this works around a loose script that is as poetic as it is funny and, quite frankly, downright silly.
Centred around the "Midnight Express" take away bar in Chungking Mansions, Kowloon, two lovesick policemen who frequent the establishment pursue new attempts at failed relationships. Essentially, this is four short films centred on each of the main characters, divided into two halves to create two non-existent love stories.
Brigitte Lin's segment as the unnamed 'Woman in blonde wig' sees a criminal using Indian families to smuggle drugs. She moves in underworld circles in a frantic and fast-paced life, hiding behind shades and the distinctive blonde wig. But her lover has moved on to a new wigged love, and her failed attempt to transport the contraband leave her lost and alone.
One night she meets Takeshi Kaneshiro's Cop 233, a young, naïve detective who fails in catching criminals as much as women. Obsessed over his ex, he spends his days phoning her from the Express' payphone. His is a pathetic love trapped inside modern pursuits, attaching his love to the expiration of tinned pineapples; and running to sweat out all the water for tears. His birthday night, he tries to woo the criminal, though she seems uninterested, though their time together leaves them both with a smile.
Now enter Tony Leung Chiu-wai's Cop 663, a beat cop who stops by the Express to pick-up dinner for his airhostess girlfriend. Chatting with the manager (Piggy Chan), he is encouraged to buy her new things to try, until one day she decides to try a new man. Now single, he sits at home talking to the inanimate objects of his flat about their sadness at her departure. They mustn't cry for her.
But the real star is Faye (Faye Wong), the young worker at Express who the manager tries to set-up with both policemen, and serves as the link between the two halves. Naïve and infatuated with 663, she sneakily gets hold of the keys to his apartment and goes in to clean and re-arrange in his absence. Wong plays the role with a child-like enthusiasm; often staring wide-eyed from behind her shades. She is the free spirit of youth in love that the film is trying to capture.
Not just one of Wong's best, this is one of the best films of the Nineties and serves as the definitive Wong film, incorporating all the elements to which he would be associated. Here narration takes over, which would become a key feature of his films - each character taking on the role as narrator, making up a lot of the script. And all characters suffer from Wong's favourite trait: a love unfulfilled.
Stylistically, this also mixes his films, notably working with two cinematographers, as he would often do. Andrew Lau takes on the film's first stories, using the same slow-framed action scenes and neo-noir of "As Tears Go By"; while Christopher Doyle brings his lo-fi picture-perfect framing as he would use in "Days of Being Wild" and "Happy Together".
This has the most humour of a Wong film, largely brought by Takeshi Kaneshiro's unique charm, but also the happy band of Indian drug mules the blonde wig has to heard like cats. Indeed, as with "Fallen Angels", Wong would employ Kaneshiro for laughs. Though a loneliness is in each of the four leads, despite the busy hustle and bustle that surrounds them.
Though perhaps the soundtrack is the most notable feature, with each character seemingly having their own theme to reflect their mood, from 233's slow, lamenting noir jazz, to Faye's upbeat optimism in the form of The Mamas & The Papas' "California Dreamin'". Thoroughly considered, it draws on various styles to reflect the mood and setting, and the first truly important soundtrack of his oeuvre. In many ways, the perfect music video...or Coca-Cola advert.
With fun and experimentation very much the order of the day, this is great filmmaking out of circumstance, as much as planning. Simply going with the flow and seeing what comes of it, Wong created a defining work; and arguably his best script written on the fly. Don't think; feel.
Politic1983.home.blog.
What resulted was a fast-turn around, written-as-they-went ensemble piece, where characters are stuck in Wong's favourite place: yearning for a love which will remain unfulfilled. Any frustrations "Ashes of Time" may have been giving him are miles away, with Wong in his element and having fun while at it. His most light-hearted film, this works around a loose script that is as poetic as it is funny and, quite frankly, downright silly.
Centred around the "Midnight Express" take away bar in Chungking Mansions, Kowloon, two lovesick policemen who frequent the establishment pursue new attempts at failed relationships. Essentially, this is four short films centred on each of the main characters, divided into two halves to create two non-existent love stories.
Brigitte Lin's segment as the unnamed 'Woman in blonde wig' sees a criminal using Indian families to smuggle drugs. She moves in underworld circles in a frantic and fast-paced life, hiding behind shades and the distinctive blonde wig. But her lover has moved on to a new wigged love, and her failed attempt to transport the contraband leave her lost and alone.
One night she meets Takeshi Kaneshiro's Cop 233, a young, naïve detective who fails in catching criminals as much as women. Obsessed over his ex, he spends his days phoning her from the Express' payphone. His is a pathetic love trapped inside modern pursuits, attaching his love to the expiration of tinned pineapples; and running to sweat out all the water for tears. His birthday night, he tries to woo the criminal, though she seems uninterested, though their time together leaves them both with a smile.
Now enter Tony Leung Chiu-wai's Cop 663, a beat cop who stops by the Express to pick-up dinner for his airhostess girlfriend. Chatting with the manager (Piggy Chan), he is encouraged to buy her new things to try, until one day she decides to try a new man. Now single, he sits at home talking to the inanimate objects of his flat about their sadness at her departure. They mustn't cry for her.
But the real star is Faye (Faye Wong), the young worker at Express who the manager tries to set-up with both policemen, and serves as the link between the two halves. Naïve and infatuated with 663, she sneakily gets hold of the keys to his apartment and goes in to clean and re-arrange in his absence. Wong plays the role with a child-like enthusiasm; often staring wide-eyed from behind her shades. She is the free spirit of youth in love that the film is trying to capture.
Not just one of Wong's best, this is one of the best films of the Nineties and serves as the definitive Wong film, incorporating all the elements to which he would be associated. Here narration takes over, which would become a key feature of his films - each character taking on the role as narrator, making up a lot of the script. And all characters suffer from Wong's favourite trait: a love unfulfilled.
Stylistically, this also mixes his films, notably working with two cinematographers, as he would often do. Andrew Lau takes on the film's first stories, using the same slow-framed action scenes and neo-noir of "As Tears Go By"; while Christopher Doyle brings his lo-fi picture-perfect framing as he would use in "Days of Being Wild" and "Happy Together".
This has the most humour of a Wong film, largely brought by Takeshi Kaneshiro's unique charm, but also the happy band of Indian drug mules the blonde wig has to heard like cats. Indeed, as with "Fallen Angels", Wong would employ Kaneshiro for laughs. Though a loneliness is in each of the four leads, despite the busy hustle and bustle that surrounds them.
Though perhaps the soundtrack is the most notable feature, with each character seemingly having their own theme to reflect their mood, from 233's slow, lamenting noir jazz, to Faye's upbeat optimism in the form of The Mamas & The Papas' "California Dreamin'". Thoroughly considered, it draws on various styles to reflect the mood and setting, and the first truly important soundtrack of his oeuvre. In many ways, the perfect music video...or Coca-Cola advert.
With fun and experimentation very much the order of the day, this is great filmmaking out of circumstance, as much as planning. Simply going with the flow and seeing what comes of it, Wong created a defining work; and arguably his best script written on the fly. Don't think; feel.
Politic1983.home.blog.
