A richly detailed soundtrack, including classics such as “California Dreamin’,” accompanies the many dialogue-free montage sequences. The whiplash, double-pronged Chungking Express is one of the defining works of nineties cinema and the film that made Hong Kong filmmaker Wong Kar-wai an instant icon.
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Overall, Wong’s movie doesn’t leave as big a wash behind it as the more ambitious “Days” and his “Mean Streets”-like debut, “As Tears Go By,” but it’s an enjoyable cruise. These are two people you just want to see get together. Matinee idol Leung, all boyish incomprehension, is as fresh and relaxed as he’s ever been in his multi-pic career. Longer seg has more going for it, with an engagingly wide-eyed perf by Wang (in a Jean Seberg, “Breathless” haircut) whose body language and facial expressions are wonders to behold. There’s enough energy in the direction and loopy humor in the piece to just about fill the running time. (Valerie Chow), who’s the unwitting fixation of a dotty worker (Faye Wang) at Midnight Express, a fast-food joint.įirst seg, almost entirely shot at night, and much showier technically, is the lesser of the two halves, but establishes the movie’s overall tone of urban forlornness. Second, more involving story (61 minutes) centers on another young cop (Leung), also ditched by his air hostess g.f. Chungking Express, Part 2 portrait pineapple express chungking. As he mopes around, devouring cans of pineapple and calling up old flames, destiny leads him to cross paths with a coldhearted drug dealer (Lin) in a blond wig and designer shades. Painted Film Set.04 movie film chungking express illustration. Effect is a little like watching an early Godard movie set in contempo Hong Kong, though with a technical slickness from employing two megastars (Brigitte Lin Ching-hsia, Tony Leung Chiu-wai) and top technicians (lenser Christopher Doyle, production designer William Chang).įirst story (42 minutes), set around the labyrinthine tenement building Chung King House in downtown Kowloon, spins on a romantic young cop ( Takeshi Kaneshiro), recently ditched by his g.f. With its plentiful use of hand-held camera, fast-cutting, and collage-like approach to storytelling, “Wild” has a fresh, risk-taking feel very different from the rigorous “Days,” even though its romantic undercurrent and quartet of urban dreamers are not far removed from the earlier pic. Wong made the moderately budgeted, HK$15m ($2 million) movie in only three months, between the end of shooting and start of post-production on his mammoth martial arts costumer “Ashes of Time,” already two years in the works.
Hip pic, drenched in neo-’60s nostalgia, should delight cinephiles and prove an intriguing addition to the fest repertoire, though its appeal may prove too specialized for broad sales.
Discounted ticket packs available in 3-packs ($42 for general, $30 for IFC Center Members) and 5-packs ($60 for general, $45 for IFC Center Members) here.Four years after his cult classic “Days of Being Wild,” Hong Kong maverick stylist Wong Kar-wai trampolines back with “Chung King Express,” a quicksilver magical mystery tour through the lives of a bunch of young downtown loners. Screening as part of our retrospective The World of Wong Kar Wai. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung Chiu Wai), both jilted by ex-lovers, cross paths at the Midnight Express take-out food stand, where the ethereal pixie waitress Faye (Faye Wong) works. Anything goes in Wong’s gloriously shot and utterly unexpected charmer, which cemented the sex appeal of its gorgeous stars and forever turned canned pineapple and the Mamas and the Papas’ “California Dreamin’” into tokens of romantic longing. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung), both jilted by ex-lovers, cross paths at the Midnight Express take-out restaurant stand, where the ethereal pixie waitress Faye (Faye Wong) works. The whiplash, double-pronged CHUNGKING EXPRESS is one of the defining works of nineties cinema and the film that made Hong Kong filmmaker Wong Kar Wai an instant icon.
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