Director:
Wong kar-Wai
Cast: Leslie Cheung, Maggie Cheung, Carina Lau, Andy Lau,
Rebecca Pan, Jacky Cheung
This
is one of Wong kar-Wai's early films, and one which received
much acclaimed, and the principle actors with whom he would
work with repeatedly appear here. Set in the 1960s Hong Kong
(a recurring theme for Wong kar-Wai), Leslie Cheung is Yuddy
(Leslie Cheung), a dissolute young lush who treats women like
disposables and who seems to exist with no purpose in love
except one thing: to discover the identity of his natural
mother, a fact that his foster mother, Rebecca (Rebecca Pan),
a retired courtesan, refuses to tell him.
Maggie
Cheung plays one of Yuddy's more recent conquests, Su Lizhen,
a lonely simple girl who works in a store, who is seduced
in the beginning of the movie, literally bit by bit, by this
charming man who promises to remember her for one minute in
time for the rest of his life. Yuddy takes her affections,
but is not concerned with returning it, leading her to break
it off, though it proves much harder to put in practice than
she realises. She keeps returning to Yuddy's building, getting
upset every time, and it was during one of these moments that
she meets Tide (Andy Lau), a police officer who befriends
her. Meanwhile Yuddy acquires another girlfriend, a raucous
and abrasive nightclub dancer Leung Fung-Ying (Carina Lau)
who seems shallow but falls into the same emotional trap as
Lizhen, though lacking the latter's strength of character
to leave. Yuddy is the film's main character, self-obsessed
and insensitive, yet his nonchalance and casual cruelness
hides someone who is essentially not more than a boy, angry
and frustrated, searching for his place and a sense of belonging.
He is on the path of self-destruction, his self esteem non-existent,
giving rise to his lack of ability to really care for anyone,
including himself.
There
are several strands in the movie, with the characters all
connected to each other by desire of various kinds. Desire
and love here is treated quite differently from how it is
in mainstream cinema. Love here can be exploited, used, and
can leave those who dare in agony and hurt, and is rarely,
if ever, fulfilled. Lizhen, though hurt terribly, eventually
recovers, but Fung-Ying does not. The latter's character,
though abrasive, is a vulnerable and a silly immature girl,
lashing out emotionally at all who dares to come in-between
her and Yuddy. Rebecca is cynical, opting for a flawed kind
of love with a much younger lover whom she knows is only around
for her money, yet even she suffers in spite of her jadedness.
Only Tide seems unaffected, and he eventually meets up with
Yuddy later in the movie, and rebukes the latter's life philosophy,
making him realise the truth only too late.
Though
not as pronounced here in this movie as in his later movies
like 'Chungking Express', Wong kar-Wai's unique style of cinematography
and camera style are evident, using washed out monochromatic
filters and jerky movements to create moods which he knows
how to do so well. And as usual, Wong kar-Wai inserts a perplexingly
obtuse ending which could either amuse or irritate: a cameo
appearance by Tony Leung preparing for a night-out on the
town. An interesting film, sometimes self-indulgent but powered
by very excellent performances.
Eden
Law
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