I'll Be Boarding at the Next Stop . . .

Chungking Express. God in heaven . . . I'm not exactly sure where it is that I begin with this film. In all honesty, I'm not sure what it is I saw, but I know one thing for certain.

I liked it. Alot.

I can't really describe the plot of this film or the characters it depicts - the primary reason being that if I did, I think I'd enjoy it far less than I do at the present moment. On most occasions, such a description would make me lose a degree of respect for the viewer asserting that the "feeling" of a film was enough to warrant a positive review, but that is unfortunately (and perhaps fortunately) the verdict I must render in the case of Chungking Express. Simply put, the aura about Wong Kar-wai's meditation on love in big city can carry its disjointed plot. The cinematography, the editing, and the score all combine to evoke an illustrious Hong Kong in all its chaotic glory.

Considering I won't necessarily be discussing plot or character development, I will be supplementing this review with an analysis of the more technical aspects of the film that I felt made it, for lack of better words, a cinematic work of art.


First off, the cinematography could have been a character in its own right: with this lofty statement, I simply wish to convey that the angles shot and the filming choices made were unconventional and thoroughly engaging, evolving as the story progressed. There is a beauty to the canted angles used to depict inebriation and confusion. There is an urgency to the sped-up filming of the fight chases that effectively sucks an audience member into the world so clearly crafted by Wong Kar-wai. It's as if we are snorting celluloid cocaine: we are jolted with a vibrant rush of adrenaline followed by an inevitable, blistering crash.

All told though, for most, this trip is worth the taking.

The editing of this film - what was chosen to be left out and included in the final cut - is of monumental interest to me as a student of film. Upon first glance, it seems like the film is somewhat schizophrenic, not knowing whether it wishes to be a somber study of city isolationism (and the desire we have to connect with one another) or an upbeat, romantic comedy. Ultimately though, it is the choice to switch main characters half-way through (reminiscent of Hitchcock's approach employed in Psycho) that makes this film stand-out, that sets it apart from the other art-house fanfare of the early-to-mid 90's. It takes a great deal of courage to tell a story that suddenly makes a 180-degree turn, but Wong Kar-wai is an auteur with the inner-vision to make it work.

The musical stylings of this film are also worth noting. Be it the eeriness of the score or the inter-weaving treatment given The Mamas & the Papas "California Dreamin'," the music of Chunking Express is evocative and proactive, in many ways furthering the film's unique story arc. The color palette of this film is also quite remarkable and worthy of some mention. The richness of the city lights, the dinginess of the back alley streets, the vibrance of a warm summer's day - they all combine in a miasma of color that help to render the vividness of this far-off world.


Parting thoughts on this film: simply put, a wonderful emotional experience. Highly recommended to anyone. A lovely piece of artistry that evokes more than it explains. Perhaps I've learned that maybe, just maybe, that should be enough.