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Even the frames are tight, holding on hands that come tantalizingly close to touching as the neighbors pass politely on the stairs. They’re stuffed into these sets the way she’s bundled into her formfitting cheongsams and he in his firmly knotted ties.
#CHUNGKING EXPRESS FULL MOVIE SCRIPT MOVIE#
The movie is a marvel of repression, with the emotional constriction taking physical form as these characters are crammed into cramped corridors and narrow alleyways, our views often obscured by looming foreground objects. Set in the early 1960s Shanghai of the director’s childhood, it stars Tony Leung Chiu-Wai and Maggie Cheung as next-door neighbors who develop forbidden feelings for one another after discovering that their spouses are having an affair. 30.Ĭritics are an ornery sort who don’t agree on much, but there’s a general consensus calling “In the Mood for Love” the finest film of this new century so far, and I don’t hear a lot of argument.
#CHUNGKING EXPRESS FULL MOVIE SCRIPT SERIES#
The series kicks off on Christmas Day with a 35mm print of Wong’s 2000 masterpiece “ In the Mood for Love,” with the other six films in the series set to follow through Dec.
But since watching Wong Kar Wai movies in a theater is like living inside of somebody else’s dream for a little while, the Brattle has brought it back to the big screen. Due to the pandemic, the series ran last December at the Coolidge Corner Theatre’s Virtual Screening Room before being released as a Criterion Collection box set. “ World of Wong Kar Wai” is a years-in-the-making project from Janus Films presenting painstaking new restorations of seven contemporary classics from this most idiosyncratic and influential filmmaker. His best movies feel like memories of themselves, rhapsodies of regret and lingering visions of the ones that got away. There’s a certain irony in the idea of a Wong Kar Wai retrospective, as so many of his characters are already living in the past. For Wong fanatics, the sight of the young director (as ever, cool, reserved, never without his sunglasses), sitting and talking with his boisterous d.p., will register as singularly poignant - and very much of a piece with the youthful promise and optimism embodied by Wong’s breakthrough movie.A still from director Wong Kar Wai's "Chungking Express." (Courtesy Janus Films)
Wong and Doyle, whose collaboration produced one of the most distinctive and influential visual styles in recent cinema, have since parted ways.
#CHUNGKING EXPRESS FULL MOVIE SCRIPT TV#
Rayns decisively refutes the tired criticism that Wong’s freewheeling, instinctual filmmaking style is merely a poor disguise for his sloppiness as a storyteller.ĭisc also includes a 12-minute gem of an episode from the British TV series “Moving Pictures,” in which Wong takes viewers on a tour of the film’s locations - from the sweaty, cramped corridors of Chungking Mansions to cinematographer Christopher Doyle’s apartment (occupied in the film by Leung). Gratifyingly, Rayns points out the skill with which Wong (working, as usual, sans script or storyboard) conceived the film’s two delicately intertwined love stories and penned the witty, melancholy romantic aphorisms that constitute much of the dialogue. That honor falls to critic and Asian cinema expert Tony Rayns, who comes at “Chungking” from every possible angle: He outlines the unique circumstances under which it was made (as a low-budget throwaway intended to provide a quick cash flow for Wong’s Jet Tone Prods.), analyzes the pic’s nostalgic presentation of Hong Kong’s Tsim Sha Tsui district, where Wong grew up, and fills in the backgrounds of the pic’s beautiful stars: Takeshi Kaneshiro, Brigitte Lin, Tony Leung Chiu-wai and singer-songwriter Faye Wong. Nor is it much of a surprise that Wong, never one to overexplain his own work, did not contribute a feature commentary track. Still, the two films’ contrasting production histories - Wong spent 15 months shooting “Mood,” while he tossed off “Chungking” in just two - may explain the relative absence of supplemental material here. The bonuses look especially slim when set beside Criterion’s lavish two-disc set for “In the Mood for Love” (2000).
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