Chungking Express (1994)

If you are a fan of film, you have probably heard the name Wong Kar-wai. When people talk about visionary filmmakers who defined and impacted the medium, Wong Kar-wai's name comes up again and again. And I hadn't seen any of his films. Not a one.

So I decided to change that.

I. What Is It?

This is the story of two lovesick policemen in Hong Kong, and their attempts to waylay their heartache.

II. Dreamlike

This movie is absolutely gorgeous. Director Wong Kar-wai has a knack for dream-like imagery and a knack for eliciting impeccable photography from his cinematographers, Christopher Doyle and Lau Wai-Keung. He'll have the main characters performing their action in slow motion, while the scene around them occurs in hyper fast time lapse: one character languidly drinks a cup of coffee, while blurry shapes flit in and around him, while his scene partner stares on. It gives the sense that these people are caught in a moment with each other, and it is visually stimulating.

Another thing I liked, visually, was the contrast between cool and warm colors. The scene will be washed out in blues or greens, and then a splash of orange, or yellow, or red will pop onscreen: a neon light blaring in the Hong Kong gloom; a red dress under fluorescent lights; the tiny smoldering tip of a cigarette.

And then there are the long stretches where Wong Kar-wai allows his characters to show the story instead of telling it. His camera follows them, as they attempt to smuggle drugs, or eat mass amounts of expired pineapple, or break into another person's apartment and do chores. Largely, these scenes happen without dialogue, or accompanies by sparse lines of narration. And the camera floats and swoops around with them, adding to the dream-like atmosphere.

Underscoring all of this is some wonderfully strange music by Frankie Chan, Michael Galasso, and Roel A. Garcia. And then there's the repetition of "California Dreaming," and Faye Wong's cover of the Cranberries' hit, "Dreams."

This movie is gorgeous to behold. Even if you find the story lacking or confusing (more on that below), one has to stand in wonder at Wong Kar-wai's ability to tell a visual story.

III. It's Weird

I fancy myself an intelligent man. I like to think that I Understand Things. It pains me, then, to admit that I really didn't understand this movie. Its gorgeous visuals aside, I was confused at what Wong Kar-wai was trying to accomplish and why the characters were being the way that they were.

This movie is comprised of two stories. The stories are thematically linked, and overlap in one scene, but never really mesh or tie together. What's more, each installment overstays its welcome. The film is 102 minutes, and each of the two stories feels dragged out slightly, or artistically bloated. These stories could have been told quicker. The film could have worked in another short or two and felt like a real anthology film. As it stands, it feels like two films mashed into one, which robs each of their effectiveness and fulfillment. For this viewer, at least.

IV. Fun Ensemble

For all that I've criticized the film's storytelling, the actors have come to play. Tony Leung is charming as Cop 663. His energy is cool, and low paced, but his smile is warm, and sparingly deployed. He's also a man that talks to his ratty dishrags, soapbars, and stuffed animals. Faye Wong is delightfully strange as a Hong Kong-flavored Manic Pixie Dream Girl. She dances and sways to The Mamas and the Papas, and begins to insert herself into 663's life like a lovesick trickster god. Takeshi Kaneshiro is utterly committed as the desperate loser, He Zhiwu (just look at how he flails his arms like a madman as he "jogs"). He sits outside a fastfood joint desperately calling women from his past, who have either moved on and started families, or just do not remember him at all. It's a testament to Kaneshiro's charm and acting that you pity He Zhiwu more than you are creeped out by him: the man eats 30 cans of expired pineapple. That's really fucking weird, man.

V. Earnest

One thing you cannot deny about this movie is its heart. Wong Kar-wai wears his arm on his sleeve, and, while I may not always understand the choices he made, the movie is stirring and left me with a smile on my face more often than not. It is unabashedly silly, but never fully a comedy. The film explores love and heartsickness but never defaults to cheap romantic movie schlock. Wong Kar-wai crafted a lovely, ridiculous, stylish piece of art whose heart beats with joy even as he uncompromisingly marches to the beat of his own drum.

VI. Should You See It?

I don't know. Do you love film? If so, you should probably watch this thing, if only to marvel at Kar-wai's style and mastery. But, like... this is not a movie to just turn on any old day of the week. It's weird and a bit uncompromising. It demands to be thought about and considered, which elevates it out of the light afternoon entertainment category. I liked it, and if you dig artsy, soulful movies that aren't afraid to be a bit wacky, give it a whirl.

Miscellany

- This is one of Quentin Tarantino's favorite films. He struck a deal with Miramax to start his own distribution company, Rolling Thunder Pictures, so he could get Chungking Express out to a wider audience.
- Bridgette Lin came out of retirement to appear in this film. She's the drugrunner in the ridiculous blonde wig.
- This movie was shot in 23 days. Quick shoots like this always fascinate me.
- There WAS a third section to the film, but Kar-wai thought the film didn't need it. It would later be re-purposed as Fallen Angles (1995).
- Chungking Express was one of the Criterion Collection's first Blu Ray releases. It is out of print.
- The title is a mish-mash of important Hong Kong landmarks: The Chungking Mansions, which is an apartment block and cultural melting pot, and The Midnight Express, which is a famous fast food shop.