User Reviews

There is something very personal and intimate about this film that I missed the first time I saw it. Chunking was recommended to me by a friend of mine whose opinion I value, so I tried it again - and I believe I got it.

Looking back on many of the romantic films I have enjoyed, I noticed that the main characters are usually women. Even those with men don't delve with any sophistication into the male heartbreak. As a result, I am not sure I know how to properly grieve a failed relationship. LOL.

Here the heroes both suffer from failed relationships. In the first story we don't really see anything of his relationship, we just see that he held on a little too long. More important than the relationship or the reason it didn't work is the aftermath and the acute dysfunction with which he approaches the next. In his first 'May Relationship' he claims the failing was not knowing enough about her so he tries to 'get to know' more about his new 'blonde' love.

In the second story, the cop falls in love with a woman he doesn't even know. How about that for consistency of the way many of us dudes love? When we fall for women, we often fall for the idea of what they represent to us at the beginning rather than the reality of what she is. The shot that Wong Kar-Wai captured in the second cop's apartment in which the heroine hid on the wall in plain sight and the cop looked in the bathroom missing her completely was a fair characterization of the film. --- The male characters fell in love with the idea of a predefined woman and missed, in essence the women that were right under their noses.

Ultimately fascinating.

Two stories, two lovelorn cops, two objects of desire: one a big-time heroin dealer in deep trouble with her boss after the cargo disappears, the other a seriously flaky take-out waitress who inadvertently gets hold of the keys to her admirer's apartment, all shot in a breathless kaleidoscope of color and hand-held camera work to create a mesmerizing portrait of Hong Kong in the 1990s.

With the constant use of "California Dreamin" and "Dreams", do you think this is a film about dreams? In some ways, it is, and in other ways it is not.

You have to give this film credit. Besides looking great and just being an overall wonderful movie, there are little things that really stand out in the writing. The "May 1" can idea, with the connection between birthdays and expiration... so clever.

Takeshi Kaneshiro (House of Flying Daggers) meets Brigitte Lin (Ashes of Time Redux) after a depressing month trying to get over his girlfriend. She has just lost a group of Indians smuggling drugs. He obsesses over her departure and misses on what is right before him. Things don't last forever. The use of frenetic camera shots and flashing lights make this segment a little hard to take, but still satisfying. You can't get caught up in the story because that is not what's important. It's the film itself that is the point. Just when you think something may happen, the story changes.

In the second segment, Tony Leung Chiu Wai (Lust, Caution; Infernal Affairs) loses his girlfriend, too, but doesn't obsess, especially with Faye Wong (2046) available. But, he hardly notices her. She, on the other hand, spends time cleaning and rearranging his apartment without his knowledge.

It is a film for film lovers. The medium is the message. Kar Wai Wong establishes himself as a true master of the art film.

Every day we interact with people. Within the course of 24 hours we can influence someone's life (for better or worse) so deeply that they will never forget us. Is it possible that the next person you fall in love with could be a notorious heroin smuggler or the counter girl at the express luncheonette counter? Wong Kar-Wai, the writer/director of Chungking Express seems to think so. The film is broken into two tales. The first story is mainly about the sadder side of love. Love comes and brings us light and joy, but it also goes and leaves us feeling empty and needing fulfillment. The two main characters in this half of the film, a police officer played dolefully by Takeshi Kaneshiro, and a heroin smuggler played icily by Bridgitte Lin, interact for only ten percent of the story, but their meeting leaves them both with memories that will last life time. The story ends on a high note that shows us that a simple act of kindness can bring the most unreceptive people to appreciate the beauty hidden in life. The second (and far stronger) story centers around two people and their interaction at a fast food counter in the Kwaloon section of Hong Kong. Tony Leung plays the part of a rejected lover perfectly and gives of the air of being sad without ever really being pathetic. Faye Wang's quirky portrayal of the free-spirited counter girl who helps Leung forget about his ex-girlfriend, is exactly what the film needed to counter-balance its darker first half. These characters and their bizarre relationship illustrates that love can manifest itself in any number of ways, many of them unconventional. The mechanism that allows these seemingly disjointed stories together is the camera work. Wong Kar-Wai uses a decidedly unique filming technique for much of the first half of the film; a blurry hand-held technique (think Blaire Witch on drugs) used during the chase scenes. The recurring style in the second half is a time-lapse type shot with people around the main subjects moving very fast and the subjects themselves moving in slow motion (a really cool effect). The camera styles add a common surreal element to each of the stories, while still keeping them somewhat independent. Perhaps the most striking element of the film is the interconnectedness of the characters and situations. There are many establishing shots showing characters inhabiting the same places at different times, and even the same places at the same times without noticing each other. This style of filming can alter the viewer's perception of reality, daring us to believe that we are all extras in somebody else's movie.

Flawless tale of brief encounters and abstract moments. Far superior than most of Hong Kong's bullet ridden action fests, Chungking Express takes you on an emotional journey of love, loss, and chance excursions. Cinematography and editing is groundbreaking as this drama unfolds soap-opera-like stories without all the overacting and melodrama. Wong Kar-Wei has sealed his place in cinematic history with this tour de force.

WARNING: SMALL SPOILERS MAY BE GIVEN BELOW

Today being a lazy Sunday, I finally got around to watching Chungking Express. This film is something which has always been on my lengthy cinema bucket list.I am joyous that I took the the time viewing into this film as it was both uplifting and meditative amongst the chaos.

The film's plot revolves around two separate narratives regarding two policemen working within Chungking,both of whom have gone through recent break ups. Their stories are told sequentially and are both running in chagrin until they encounter a new woman.

For the first story, we become acquainted with He Qiwu, a man who pines over his most recent relationship with a girl called May. Whilst the May of which his relationship recently ended with has no screen time, there is plenty of monologue spoken from He Qiwu and interaction with other characters regarding her that as an audience we can feel his pain. (I mean, who hasn't been there before?) He Qiwu goes on the rebound and seeks out a girl after much self pity. It is at bar that he encounters a certain femme fatale.

The femme fatale is not issued a name in this story segment however it just adds to the sense of mystery she aesthetically displays by the "costume" of which she wears: A Blonde Wig and Glasses. It becomes quickly evident within the first fifteen minutes of the film that she is a dangerous presence as we see her organizes an illegal drug smuggling operation.

When He Qiwu and the woman with the blonde wig cross paths, it is not because he is after her. It is because he found himself out at a bar on the prowl and as we as viewers are sure of, the ineluctability of them meeting together is certain. They are not united together as lovers, however there is a slither of hope given to He Qiwu after their encounter and in his current position, a morale booster.

In the second story, the unnamed Cop 663 is going through the motions post break up with an air stewardess. We see that the stewardess had decided to visit a snack counter which he frequents and gave a letter to the owner regarding her wishes to break up and keys to the apartment.

This is all caught by the exuberant Faye, a worker at the counter. As Cop 663 does not wish to look at the envelope being fully aware of what the letter will detail, Faye falls him for and uses the keys to start rearranging the house while he is at his day-shift unaware. From there, the story builds around the meetings between of both Faye and Cop 663.

Throughout both stories there are reoccurring motifs that we take in such as expiry dates, the name of May, a model airplane, California Dreamin' by The Mamas & Papas, a Garfield stuffed toy and more which have been omitted from this review. The symbolism behind these help build the strength of both stories and also slightly relate them.

The setting of Chungking is a multicultural place and in being so it is interesting to hear dialog hear dialog in Mandarin, Cantonese, Japanese and Indian throughout the film.

It is hard for the setting to not draw you in. However, despite the streets being as flooded with populace as they are, we are left with the contrast of the characters usually being in isolated locations. Taciturn and with a running self monologue.

The soundtrack should be a key player in any film watched and in The Chungking Express it is not something which is not to be ignored. Most notably the soundtrack is dominated by California Dreamin' during the second half of the movie. The highlight song for me personally is a delightful Cantonese cover version of the song "Dreams" originally performed by the Cranberries sung by no other than Faye Wong, main actress of the second segment.

In regards to the cinematography, it is hard to believe that shots being taken are not being done so under natural lighting. In a scene where the Indians are assembling clothes and toys, we get various cutaway shots and amazing editing. (In particular one shot of shoes filled with cocaine/heroin being put away is shot upside down which for unknown reasons I really love) The editing is quick and fast paced, rarely lingering.

Through the use of shaky held hand camera during chase scenes and the busy streets we feel disorientated and just as lost as the characters on screen.

I believe this film is an equally a comfort to those in love as to those who are out of love. Don't give up.

Awesome. Amazing film; the second half of which far outweighs the first. Beautiful. Wong Kar Wai's film fills you with the kind of warmth that only Amelie can bestow. Fast-paced but with incredible cinematography and soundtrack. Well worth checking out; if only to say you've seen one of Quentin Tarrantino's favourite films. It's this type of film that puts others to shame. This is how a film should be; exhilarating, exciting and beautiful to-boot. The stories are told with such depth that you can't help but pick out new things every time you view it. A film like this is one that never gets boring; no matter how many times you've seen it. (I'm on my 8th)

Stunned. Chungking Express should be seen at least once for the experience. Caution: may cause smiling and frequent laughter.

What a contrast to Fallen Angels which was the first Wong Kar Wai film I've seen. Talk about polar opposites. The characters here are your everyday working people living ordinary lives. I love the idea of the people we walk and pass by everyday. Who knows what a random meeting will lead to? The chemistry between the actors is key. Takeshi Kaneshiro (I never thought of jogging that way) and Tony Leung are both great as two fellows going through a down of sorts. No one wants to be alone. Or have you ever thought to yourself and asked, "What do I want in life? Where do I want to go?" If anyone can relate to that, Wong Kar Wai captures that in his film.

Also, I love the contrast between the leading ladies; Brigitte is mysterious as the enigmatic blone and she still shines through. On the other hand, Faye's charismatic, bouncy personality is so infectious and definitely made her my favorite. It all comes out through her facial expressions, her dancing, her bright eyed look and super smile is awesome! My mindset is fixed with that song by the Mama and the Papas and Faye. That and her Cranberries' tribute. When she and Tony are onscreen together, it's magic. My favorite thing about Tony is for all the different roles he's played, he always comes off as himself. I'm sure the ladies love his scenes in the apartment!

I wouldn't consider this a great Hong Kong movie. This is a great film PERIOD. Chungking Express has replay value and there's so much more to love and appreciate upon later viewings. Definitely see it for Faye!

(beware: some spoilers follow)

"Chungking Express" is all about love, apparently, but I don't think it can rightfully be called a romantic movie. The characters are all so obsessive, neurotic and downright oddball that the film makes love seem more like a bizarre illness than something to be cherished.

The narrative is awkwardly split into two distinct stories, both involving mopey guys who are mooning over girlfriends they've lost. The two guys are pretty similar - they're both nice, passive, quirky, and cops - so I wonder why the film-makers felt the need to tell two separate stories in the first place. Why not flesh out one or the other more thoroughly? Or do a proper anthology with lots of "shorts" about love?

Despite their weirdness, the characters are endearing, but their behavior often veers away from realism and into the realm of what I call "movie-land." It seems implausible, for example, that a woman would fall in love with a complete stranger, and then decide to gradually clean and refurbish his apartment, when he's not home and without his knowledge, over the course of several weeks. That kind of behavior is sort of insane, isn't it? In real life, it'd get you arrested. It stretches credibility even further that it appears to take this guy forever to notice the changes to his surroundings, and when he finally does notice, he discusses the matter with a bar of soap. That's what I mean by "movie-land."

Compounding my irritation, the characters sometimes decide to wax poetic about their personal philosophies, in that mock-deep movie way, saying things like "people remind me of expired cans of pineapples" or some such rubbish. Is this really deep, or is it just like that old Saturday Night Live sketch, "Deep Thoughts by Jack Handy"?

Thankfully, "Chungking Express" is somewhat elevated by interesting shots of Hong Kong and energetic (but occasionally tiresome) hand-held camera work. The narrative has a disjointed feeling that is both a plus (it forces you to watch events closely, which is good) and a minus (because sometimes it's too confusing). In the first story, for example, I quickly lost track of exactly what on earth the woman in the blonde wig was up to, and who she happened to be shooting at each particular moment.

It sounds like I really hated this movie, but I didn't. I just think it fits into that category of art-house movies that really aren't so great. I applaud it for being experimental and daring, but I don't think it really sheds a lot of light on the human condition. It's too slick and self-consciously over-the-top to achieve that particular goal.

One of Wong Kar Wai's most experimental features (and this is even for old Wong folks) is one of his earliest efforts, done while in a creative struggle making his epic Ashes of Time. Chungking Express is light and frothy, featuring funny monologues about the importance of pineapple preservation and a charming, aimless usage of Mama and the Papa's California Dreaming. It's about the search for romance in a city that is dark and dingy and full of holes someone could easily fall into. But what makes it so charming, and interesting ultimately in that European art-house way, is how Wong Kar Wai keeps a rhythm to his story that doesn't follow rules, but feels right in a sense like some off-beat song on an obscure album only your hip friend down the block has. I'm not sure who, in the end, I would recommend Chungking Express. Probably film buff friends who enjoy obsessions over pineapple and girls.

There's also a very good performance turned in by actress Brigitte Lin, who before this was a (enormously popular) pop star, and is slightly used as opposed to cast by Kar Wai as a figurehead, like some flashy, self-conscious symbol of a mystery in and of itself (blond wig, going about the crevices of town on some criminal mystery, the music playing in tight but sweet strings). It's also great to see Tony Leung in an early role that allows him some space for some little notes of emotion we haven't seen in future Wong Kar Wai movies where he's the super-serious or melancholy lover. Not that there aren't moments of the melancholy in Chungking Express, but they're presented like it's the most important thing to the characters, and to the audience is, well, just another piece to their puzzle as a whole character. Little by little we see that this isn't much as a crime film in focusing on these two cops and this odd woman in a blond wig. Or even Fayes character. It's a question of what makes up these characters, when romance throws caution into the wind.

I've seen Chungking Express in bits and pieces over the years, and while I will eventually get down and watch it from start to finish, all the pieces together (not to draw any sort of parallel in what I described and how I view the movie) stay fresh in my mind. I love revisiting the gil dancing to her own beat to California Dreaming, as if we're in the room too. I also love how Kar Wai flashes so many techniques into his story, the flashes of colors, the combinations and segues of film speeds and a kind of impressionistic style that puts up noir into a more emotional plane. It's one of the director's best.

Oddly enough it is not before 2013 that I got around to watching "Chungking Express", despite being a huge fan of Hong Kong cinema and having lived and worked in Hong Kong as well. The reason for this? Well, I just never got around to it, despite having heard all the good things about this movie.

And now that I have seen it, I must say that this movie really wasn't one that stood out that much in my opinion. The movie just didn't leave that much of a lasting impression on me. Sure there were some really great scenes and some good ideas put to the screen, but overall the two stories told here were not just exceptional. The first story with the drug trafficking ring came off as too hastily put together, because there weren't any satisfactory ending to it, in my opinion. Whereas the second story with the police officer and the waitress turned out to be much more appealing for me, as it was funnier and had a more coherent red thread throughout its course.

"Chungking Express" is not the type of Hong Kong movie that will appeal just to anyone, it certainly didn't sit all that well with me, and I must admit that I have seen many more movies from Hong Kong that far outshines this one.

I am not saying that "Chungking Express" is a bad movie, far from it. It is just different - story-wise, that is.

As for the cinematography, well then they really did a good job here. The camera-work and the angles of the shots were just superb, and there was a very dynamic feel to the scenes in both the stories.

Which leaves me to comment on the acting. As a fan of Tony Leung, I must admit that the appeal to the second story had a big part of him being in it, as he always do great jobs with the movies he is in. But also noteworthy here was Faye Wong - also in the second story. Personally, I have never understood the hype about Brigette Lin, but hey, a matter a personal preference, I suppose. It was a bit strange to see Takeshi Kaneshiro in this movie, but he did a good job with his given character.

To me, "Chungking Express" was a fairly mediocre movie, though it did impress on the visual side, but it doesn't really stand out for me in an otherwise overwhelming market of Hong Kong movies out there. Hence I am giving it a 5/10 rating only.

I love this film. There, that is as simple as I can make it out. I am not going to go into any details about the plot (some people have accused it of not having one)or what takes place in the film, just want to say that this is the real deal. A film about love that is mired in reality (though shot through the lens of alcehmist - truly a visual experience to be savoured)though not gritty reality, just every day boring life and love, the sort of love we go through each day ourselves, the kinda incomplete love where two people touch each other briefly and spend more time dreaming of what could be rather than it actually taking place. A film that is romantic in all the right places, in all the right ways (believe me it will make you smile not reach for the sick bucket - Hollywood take note)and has a deft light comic touch that leaves you smiling in recognition at the heartbreak rather than crying over it. The acting and script are both first rate - tony leung can do no wrong in my book - and overall it leaves you hungry for more little gems like this. (Either that or wishing you were in love...)

I never thought that a movie that explores loneliness would end up being one of the most charming feel-good movies I've ever seen.

One obvious sign of liking a movie is watching it again and again. Some thoughts after a tenth time with "Chungking Express":

1. The movie and my viewing of it make up a set of harmonious coincidences. First: According to what I have read, it was conceived and completed quickly when the director hit a two-month hiatus in the midst of another project. Second: The movie treats the way chance encounters sometimes turn into things of great consequence. Third: I saw the movie on a hot summer afternoon in 1996, also very much by chance when, while walking home from work, I suddenly wanted to spend a couple of hours in an air conditioned theater. "Chungking Express" just happened to be the first movie I found. I knew nothing about it before watching it. Fourth: And after seeing it and liking it very much, I pretty much forgot about it until seeing the Criterion DVD in 2011 – fifteen (15) years later. This belated second viewing was the one that cast a spell. And it has become stronger with every repeat viewing. Maybe this ever growing affection for the movie parallels the developing relationship between the characters.

2. Another comment on repeat viewings: I had never heard of any of the cast or crew of this movie before I saw it. I think I experienced the first viewing without having to filter my impressions through the lens of the celebrity and stardom of the performers. Instead the people in the movie – at least the non-criminal ones – are people I have come to like very much, almost as friends. A strange effect, hard to describe. It may account for the many viewings, which are almost like visiting people I simply enjoy being with. I'd be interested to find out if I'm the only one who has had this reaction.

3. A date movie, yes, but a paradoxical one. Even though when I first saw this movie I was dating two women and recall taking one of them to another certifiable "date movie" during this period, I have never seen "Chungking Express" with anyone but myself. Maybe this is a good movie for people about to go on a date to see separately before going out, making this sort of a "pre-date" movie. The cross currents of rejection and breaking up, with a cast of endearing solipsists searching for companionship and falling in love, albeit one-sidedly and with aching tentativeness, make this the only "date movie" I know of that can work its magic (for me, anyway) when enjoyed alone.

4. Eighteen years after its initial release the movie does not look terribly dated. Although at the time of release the impending reversion of Hong Kong to mainland control was three years away, the characters do not explicitly mention the subject. The prospective change of government, something "there" obliquely for my first viewing in 1996, seems to have disappeared as a significant aspect of the movie. The only obvious set of time markers is the use of pay telephones, answering services, and pagers. This retro ingredient is more than balanced by a prophetic use of abrupt, swooping, convulsive camera movements and step printing: although rooted in the world of MTV, the look of the film anticipates cell phone and You Tube video.

5. The film offers a look at some of the things going on in the world of motion pictures in the early to mid-90's: international interest in Hong Kong cinema and Asian cinema generally; the influence of MTV-inspired film technique; a spike in the perennial popularity of romantic comedies; audience acceptance of combined stories with fragmented, braided narrative lines ("Chungking Express" was released at about the same time as "Pulp Fiction".)

6. In my nearly six decades of watching movies I can't remember any of them achieving in 90 minutes or more the truth and emotional power that "Chungking Express" manages to pack into its final 15 seconds.

Giving an 11 would be more fair to this masterpiece. Trying to get satisfied with 10 points breaks my heart as much as the stories in the film did which are based on two men suffering from love, like the other millions on the planet. The main difference between this one and other romance films is Chong qing sen ling doesn't picture eternal love, people holding hands in hands, kissing or crying and moaning in pain when it's is over. It's more about lead characters just trying to get over the pain and discovering that undying love was never that strong indeed. Talking about getting over the pain, since it's a Kar Wai Wong nobody will dare thinking a typical work.

At the first time i watched Chong qing sen ling, what hit me was director's original style in telling his stories, how he could make me feel exactly the same mood with the characters and still no tears in the whole movie. (Besides who needs tears while you can get rid of them by making some sports?) In fact if you are terribly under the influence of this film and you are dumbed by your lover too, don't be surprised when you find yourself drinking five or ten glasses of water in a row or something equally stupid as that. Because stupidity is what we are expected to do when messed with love anyway. Before, through or after the relation, it really doesn't matter, does it?

After you watch Chong qing sen ling you won't be the person you used to be. At least California Dreaming will have a special place in your heart, i guarantee that!

Don't think that many people are aware of it but throughout the decades some pretty good movies have been released from Hong Kong. The movies are often more stylish and less restrained from lets say a Chinese or Japanese production. In a way they are more like Korean movies, which is good news to hear for those who love and are familiar with Asian cinema.

And quite frankly, this movie is all about its style. Or at least it was for me. It's actually hard to believe this is a 1994 production, since the style and approach of it feels far more modern. This movie so easily could had been made and released this present day and probably would had been a bigger hit as well, seeing how popular Asian movies are now days.

It's a very visual movie, with some amazing, innovative, camera-work. It truly makes the movie feel like a very lively and fast going one, even when there is not an awful lot happening with its story.

The story is being more one of the subtle kind. It takes its time to set up things and all of its characters and doesn't ever force anything. It sort of lets the story work out as a realistic and sweet one. It's a love-story but truly far from a typical one. Watching "Chung Hing sam lam" is an unique experience, in more than one way.

It might not be everybody's kind of thing but those who want to experience something different and more visual orientated shall have a great time watching this movie!

8/10

http://bobafett1138.blogspot.com/

Classic Wong Kar-wai. Wobbling camera work, blurred images, dazzling lighting all contribute to presenting a chaotic and wearisome environment, where four exhausted characters sired two unparalleled stories: inter-human alienation, positional anxiety, heartfelt bonding, that sort of stuff. Knowing the director's level of complexity from Ashes of Time, the plot to me is quite comprehensible. In addition, it's extremely delightful to see Tony Leung, Faye Wong, and Brigitte Lin performing in their youthful selves, knowing how popular they became as Hong Kong celebrities. However, maybe because I'm not personally experienced in romantic relationships (living L), I get what the movie's saying, but the substance feels really light. Perhaps, like many other Wong Kar-wai movies, Chungking Express needs to be watched throughout one's lifetime to be truly understood.

"If memories could be canned, would they also have expiry dates? If so, I hope they last for centuries."

Wong Kar-Wai's "Chungking Express" vividly captures 1990s Hong Kong, portraying a city devoid of stability due to sequential colonization. Through innovative slip framing and brisk editing, the film navigates the grief of two cops and explores contrasting approaches to love. Faye Wong's enigmatic presence symbolizes the transient nature of personal space and prompts contemplation on love's intricacies. With masterful storytelling and visual finesse, Wong Kar-Wai crafts a poignant narrative that transcends the portrayal of Hong Kong's lifestyle, delving into universal themes of memory, grief, and the elusive nature of love.

Chungking Express is a film that was nearly lost until Quentin Tarantino and his Rolling Thunder productions company brought it to the attention of the American mainstream...but seriously, he shouldn't have bothered. Wong Kar-Wai's film is an aesthetic treat - it looks nice, sounds nice, I dare say it would even smell nice if it had a scent - but plainly and simply, Chungking Express lacks substance and it's 2D characters and muddled (not to mention slow) plotting with only leave you cold by the time the final credits (finally) role. The colour scheme and way that the camera moves is bound to please fans of the technical side of cinema - and it is for those reasons why I hesitate to put this down as a bad film, it's just the story side that lets it down. The film follows two separate stories, both about heartbroken policemen. They've both lost their loves and found new ones, and the film follows them through their tribulations. This wouldn't be so bad, if Wong Kar-Wai gave you any reason at all to care for them. The characters shown in this film have been given two of the most wooden profiles ever to befall a film character and although it's obvious which side of the film is most important to Kar-Wai; at the end of the day, if a film like this fails to impact you on an emotional level - it has failed.

I thought that there would be some sort of limit for how many times a song could be played in a movie, but Wong Kar-Wai obviously disagrees with that notion. The first time that The Mamas and the Papas' "California Dreaming" lit up the screen, I was pleased. It's a very nice song...but after the twentieth time of hearing it, I thought that a change of track was due. The film only has three popular tracks in it, and all of them are overplayed. I've never liked Daniah Washinton's "What a Difference a Day Makes", so hearing that didn't float my boat...but a Cantonese version of The Cranberries "Dreams" was a nice inclusion - but again, it's overplayed. That's the thing about this film, what it really lacks is ideas. We see characters talking to inanimate objects and dancing to California Dreaming and then, instead of seeing something else - we see the same thing again and again and again and it all gets very tiresome. Basically, this film is rated highly for two reasons: Quentin Tarantino has a lot of fans (even though this movie has nothing to do with him really) and the fact that everything from Asia is at the height of fashion right now. This film is worth seeing if you like to see well photographed movies with nice camera-work; but it's an ultimately shallow experience, and people that like their movies with a bit of meat on them will be thoroughly disappointed.

As He Qiwu (Takeshi Kaneshiro) jogs around a deserted sports field in the pouring rain, he narrates 'we're all unlucky in love sometimes. When I am, I go jogging. The body loses water when you jog, so you have none left for tears'. For me, that quote summed up this quite wonderful movie. In any other film, the line would be so appallingly pretentious. Here, it fits the movies styles and attitudes. This is a playful, sensitive and almost mocking love-letter to the complications and folly of, well, love.

The film tells two stories, one focusing on He Qiwu, also known as Cop 223, who, having recently broken up with his long-term girlfriend on April Fools Day, decides to buy a tin of pineapples with the expiration date of May 1st (his birthday) every day until May 1st. He feels this is the date to move on if they haven't gotten back together. Meanwhile, lonely and drunk, he spies a mysterious woman in sunglasses (Brigitte Lin) sat alone at a bar, who has just seen her drug smuggling operation go drastically wrong. In the second seemingly unconnected story, a quirky snack bar waitress Faye (Faye Wong) falls in love with Cop 633 (Tony Leung) who has also recently broke up with his air stewardess girlfriend. Faye, spotting his obvious loneliness, takes it upon herself to rearrange his apartment every time he is out to try and improve his outlook.

Director Wong Kar-Wai made the film whilst on a break from editing his messy but still rather excellent film Ashes Of Time, wanting to make something light and down to earth in the wake of all the martial arts and visual poetry that went on in Ashes. To think he made this as a side project to calm his nerves speaks volumes about the Hong Kong directors' abilities. Originally seen as three stories, as opposed to two, the director had to cut out the third story feeling the film was too long, eventually making it into a full feature on its own, 1995's Fallen Angels. Although the two stories are seemingly unconnected, they are ultimately the same story told in slightly different ways, and both contain the same themes.

It appeared to me at first that Chungking Express was ultimately about loneliness and longing. But in the couple days following, it came to me that perhaps it was actually about love. All the characters are lonely, disconnected and sad, and are all like this as a result of love. Love makes you do strange and bizarre things. He Qiwu, after building up a large collection of pineapple tins as May 1st hits, he decides to eat them all in one sitting. The strange and enchanting Faye, buys the oblivious Cop 633 fish and buys new furniture for his apartment, without him even noticing. He is so caught up in his lovesick rut that he almost believes the changes happening in front of him are a result of it.

If the wonderful script and acting aren't enough, Kar-Wai films it all like a giddy schoolboy given a new camera for Christmas. It's the only film post-1960's I have seen that truly embodies the spirit of the French New Wave. Many have attempted mirroring the style, but Chungking Express has a restless and almost excitable style that boils over with fresh ideas.

A bold and inspired film, full of intelligent writing, astonishing acting, and a beautiful setting in Hong Kong. And one that tackles the true complexities of love.

www.the-wrath-of-blog.blogspot.com

Cute one, from wong's earlier days. Two police fall in love. The first thirty minutes are mostly a bunch of fast motion cuts. Someone seems to be smuggling drugs sewn into suits. One toys with the other, stalking him and even going into his apartment. California dreamin, over and over and over. A little weird. She tries to work her way into his life, but will he like the advances?? It's cute, but you'll never want to hear california dreamin ever again!