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November 8, 2011 (XXIII:11) Wong Kar-Wai, CHUNGKING EXPRESS (1994, 98 Min.)

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November 8, 2011 (XXIII:11) Wong Kar-Wai, CHUNGKING EXPRESS (1994, 98 Min.) November 8, 2011 (XXIII:11) Wong Kar-Wai, CHUNGKING EXPRESS (1994, 98 min.) Directed and written by Wong Kar-Wai Produced by Yi-kan Chan and Jeffrey Lau Original Music by Frankie Chan (as Fan-Kei Chan), Michael Galasso and Roel A. García Cinematography by Christopher Doyle and Wai-keung Lau Film Editing by William Chang, Kit-Wai Kai and Chi-Leung Kwong Brigitte Lin...Woman in blonde wig (as Ching-hsia Lin) Tony Leung Chiu Wai...Cop 663 Faye Wong...Faye Takeshi Kaneshiro...He Zhiwu, Cop 223 Valerie Chow...Air Hostess Chen Jinquan...Manager of 'Midnight Express' Lee-na Kwan...Richard (as Guan Lina) WAI-KEUNG LAU (April 4, 1960, Hong Kong) has 46 cinematographer credits, some of which are 2011 A Beautiful KAR WAI WONG (July 17, 1956, Shanghai, China) has directed Life, 2010 Legend of the Fist: The Return of Chen Zhen, 2006 18 films: 2012 The Grandmasters (post-production), 2007 Confession of Pain, 2006 Daisy, 2003 Infernal Affairs: End There's Only One Sun (short), 2007 To Each His Own Cinema Inferno 3, 2003 Infernal Affairs II, 2002 Infernal Affairs, 2000 (segment), 2007 My Blueberry Nights, 2004 Eros (segment), Born to Be King, 2000 The Duel, 1999 A Man Called Hero, 1998 2004/II The Hand (short), 2004 2046, 2002 Six Days, 2001 The The Storm Riders, 1995 Sixty Million Dollar Man, 1995 The Follow (short), 2000 In the Mood for Love, 2000 Hua yang de Saint of Gamblers, 1994 Chungking Express, 1993 Crime Story, nian hua (short), 1997 Happy Together, 1996 1993 Once Upon a Time in China II, 1991 Lee Rock, 1989 China wkw/tk/1996@7'55''hk.net (short), 1995 Fallen Angels, 1994 White, 1988 As Tears Go By, and 1987 City on Fire. Ashes of Time, 1994 Chungking Express, 1990 Days of Being Wild, and 1988 As Tears Go By. BRIGITTE LIN (November 3, 1954, Taipei, Taiwan) has appeared in 91 films, some of which are 1994 Ashes of Time, CHRISTOPHER DOYLE (May 2, 1952, Sydney, New South 1994 Chungking Express, 1994 The Bride with White Hair 2, Wales, Australia) has 57 cinematography credits, some of which 1993 The Bride with White Hair, 1993 The Eagle Shooting are 2011 Tormented, 2011 Mo shu wai zhuan, 2011 Underwater Heroes, 1993 Swordsman III: The East is Red, 1992 Handsome Love, 2010 Passion Play, 2010 Showtime, 2010 Ocean Heaven, Siblings, 1992 Royal Tramp II, 1992 Dragon Inn, 1992 Royal 2009 Ondine, 2009 The Limits of Control, 2008 Downloading Tramp, 1992 The Legend of the Swordsman, 1992 Secret Love in Nancy, 2007 Paranoid Park, 2006 Lady in the Water, 2006 Peach Blossom Land, 1987 Flag of Honor, 1986 Peking Opera Invisible Waves, 2005 The White Countess, 2005 Perhaps Love, Blues, 1985 Police Story, 1985 Phoenix the Raider, 1984 Lover 2004 2046, 2003 Green Tea, 2003 Last Life in the Universe, Beware, 1983 By Love Possessed, 1983 Lone Ninja Warrior, 2002 Hero, 2002 The Quiet American, 2002 Rabbit-Proof Fence, 1982 Pink Force Commando, 1982 Golden Queen's Commando, 2001 Made, 2000 In the Mood for Love, 1999 A Way with Words, 1981 The Women Soldiers, 1981 Love Massacre, 1980 The 1998 Psycho, 1997 Happy Together, 1996 Temptress Moon, Marigolds, 1979 Love Under a Rosy Sky, 1978 Love of the White 1994 Chungking Express, 1990 Days of Being Wild, 1986 Noir et Snake, 1978 Everywhere Birds Are Singing, 1978 Misty Moon, blanc, 1986 Lao niang gou sao, and 1983 That Day, on the 1977 Come Fly with Me, 1977 Cloud of Romance, 1977 Toward Beach. the Rainbow, 1975 The Forest of Forever, 1975 Hot Wave, 1975/II Little Sister-in-law, 1975 Misty Drizzle, 1974 Gone with the Cloud, and 1973 Outside the Window. Wong Kar-Wei—CHUNGKING EXPRESS—2 impetus. The uncertainty with which Hong Kong citizens faced TONY LEUNG CHIU WAI (June 27, 1962, Hong Kong) has 84 the 1984 Sino-British Agreement outlining the handover of Hong acting credits, including 2012 The Grandmasters (post- Kong to China forced Hong Kong residents and filmmakers alike production), 2011 The Great Magician (post-production), 2009 to confront and examine their relationship with China. This issue Red Cliff II, 2008 Red Cliff, 2007 Lust, Caution, 2006 Confession was translated into film by the Second Wave of cinema but done of Pain, 2005 Seoul Raiders, 2004 2046, 2003 Infernal Affairs: so “with introspection rather than outright cynicism” that End Inferno 3, 2002 Infernal Affairs, 2002 Hero, 2001 Fighting “brought Hong Kong cinema to a new level of maturity”. for Love, 2000 Healing Hearts, 2000 In the Mood for Love, 2000 Consequently, the themes connected to identity and Hong Tokyo Raiders, 1999 Gorgeous, 1998 Your Place or Mine, 1998 Kong’s relation to China were broadened and modernised. The Flowers of Shanghai, 1998 The Longest Nite, 1997 Happy identity of Hong Kong is perpetually marked by its closeness to Together, 1994 Chungking Express, 1993 Butterfly and Sword, the motherland China and its Western link as a British colony. 1992 Three Summers, 1992 Lucky Encounter, 1992 Hard Boiled, Yet in the face of its history, Hong Kong has duly created its own 1991 Qian wang 1991, 1991 Mo hua qing, 1991 The Royal culturally specific identity, one that inevitably combines both Scoundrel, 1990 Days of Being Wild, 1990 Bullet in the Head, elements of the West and Mainland China. The cinema of Hong 1989 A City of Sadness, 1986 Din lo jing juen, 1983 “But dou Kong reflects this notion of a dual identity, combining to create a san hung”, 1982 “Heung sing long ji”, and 1982 “Wut lik sap third, localised identity. Significant in this respect is Hong Kong jat”. cinema’s ‘New Wave’ movement, which rose to prominence in 1979. FAYE WONG (August 8, 1969, Beijing, China) has only 9 acting Varying from his New Wave counterparts’ credits: 2004 2046, 2004 Dai sing siu si, 2002 Chinese Odyssey preoccupation with the 1997 handover, Patrick Tam’s 2002, 2001 “Usokoi”, 2000 Okinawa Rendez-vous, 2000 contribution to the New Wave movement came via his interest in “Toshinden xinde chansheng”, 1994 Chungking Express, 1993 the influence of the West and Japan on Hong Kong. His “Yuen chun hap”, 1991 Beyond ri zi zhi mo qi shao nian qiong. exploration of a society rapidly consuming Western and Japanese popular culture led him to reveal the “no man’s land of Hong Kong’s cultural, spiritual and geographical dislocation”. Tam’s interest in themes of dislocation and alienation can be identified in the work of his protégé Wong Kar-wai. Notably, Wong was the scriptwriter of Tam’s 1987 Final Victory and Tam supervised the editing on Wong’s 1991 Days of Being Wild. Both directors combined their preoccupation with themes of isolation and dislocation with a striking visual aesthetic. It is this exact visual and thematic amalgamation that signifies Wong’s mode of filmmaking. He works outside of the usual representational approaches that underpin classical narrative cinema and transcends artistic boundaries. Moments, questions and answers are infinite for Wong as he attempts to charter the terrain of his lovelorn outsiders. Wong’s status as a postmodern auteur sees him delve into ‘moments’ that are linked to both history and the personal, whether directly or indirectly. Notions of identity and the ever-present fusion between East and West find context in the themes of love, loneliness and alienation that pervade his protagonists. Tension between the past and present is linked to memory, desire, time, space and environment. Hong Kong cinema’s complex status as both a national and ‘transnational’ cinema as well as its relation to mainland China are distinct issues in the quest to define Hong Kong cinema. Wong’s art of filmmaking is crucial in discussing an innovative and inimitable Elizabeth Wright: “Wong Kar-wai” (Senses of Cinema 20): cinema that is at once collective and exclusive. His focus on Wong Kar-wai is undeniably an auteur of striking and detail over totality consolidates his talent for creating a distinct salient cinema, standing apart from much mainstream Hong mood and atmosphere, a visual pastiche of colours and emotions. Kong cinema. Wong belongs to the mid-1980s Second New After obtaining a diploma in graphic design from the Wave of Hong Kong filmmakers who continued to develop the Hong Kong Polytechnic School in 1980, Wong become a innovative and fresh aesthetic initiated by the original New television production assistant. Following work on several Wave. The Second Wave, which includes directors such as Eddie television drama series, he began working as a scriptwriter for Fong, Stanley Kwan and Clara Law, is often seen as a television and then later for films. Wong’s directorial debut As continuation of the first as many of these directors worked as Tears Go By (1988) marked his unique visual style and was assistants to First Wave directors such as Tsui Hark, Ann Hui screened as part of the ‘Critics’ Week’ at the 1989 Cannes and Patrick Tam (with whom Wong worked and collaborated). International Film Festival. Wong’s next film Days of Being The innovation of this group of filmmakers was linked to the Wild, which featured several of Hong Kong’s beautiful and social and political issues facing Hong Kong as well as an artistic popular young stars, won five Hong Kong Film Awards, Wong Kar-Wei—CHUNGKING EXPRESS—3 including Best Film and Best Director. His following effort, between the Soviet Union and the United States that was to Ashes of Time (1994), varied greatly in genre, successfully centre heavily on Southeast Asia as a focal point for the subverting the conventions of the period martial-arts drama.
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