Chung King Express
This 1994 WONG Kar-wai movie holds a special place in my heart. Having worked in Tsim Sha Tsui as a young inspector, I know all the locations like the back of my hand. The quirky characters and oddball people are not just on-screen figures but individuals I've encountered in real life.
The movie's portrayal of the claustrophobic atmosphere and the bustling life of the Chung King Mansions resonates deeply with me, a building I've spent countless hours dealing with various incidents.
The film unfolds with two parallel stories involving police officers who navigate romantic breakups in their own ways. A drug deal and a murder occur, serving as incidental events to the main themes. The characters in this bustling city lead a solitary existence, a fact beautifully portrayed by the superb cast. Faye Wong, in particular, shines as the quirky cafe worker who falls for Tony Leung's patrol cop, 663, leaving a lasting impression on the film.
Another layer of the film is the impending 1997 handover to Chinese rule. This political shift had people looking to escape Hong Kong, and a quick drug deal seemed like a viable exit strategy. Faye Wong's character embarks on a journey to see the world as an air stewardess in a bid to escape her confines.
However, in the poignant final scene, she returns to the cafe to find cop 663, the new owner. The uncertainty of their future relationship leaves a bittersweet feeling, echoing the film's themes of loneliness and the elusive nature of escape.
Chris Doyle's cinematography is fantastic, uniquely and compellingly capturing the essence of Hong Kong. His trademark shots in the rain add a sense of melancholy and romance to the film.
The catchy soundtrack complements the mode and pace of the film and further enhances the viewing experience. Surprisingly, the whole thing was filmed to fill time between other projects. Yet the result supplants other WONG Kar-wai films. The spontaneity is hard to recapture.
The movie's portrayal of the claustrophobic atmosphere and the bustling life of the Chung King Mansions resonates deeply with me, a building I've spent countless hours dealing with various incidents.
The film unfolds with two parallel stories involving police officers who navigate romantic breakups in their own ways. A drug deal and a murder occur, serving as incidental events to the main themes. The characters in this bustling city lead a solitary existence, a fact beautifully portrayed by the superb cast. Faye Wong, in particular, shines as the quirky cafe worker who falls for Tony Leung's patrol cop, 663, leaving a lasting impression on the film.
Another layer of the film is the impending 1997 handover to Chinese rule. This political shift had people looking to escape Hong Kong, and a quick drug deal seemed like a viable exit strategy. Faye Wong's character embarks on a journey to see the world as an air stewardess in a bid to escape her confines.
However, in the poignant final scene, she returns to the cafe to find cop 663, the new owner. The uncertainty of their future relationship leaves a bittersweet feeling, echoing the film's themes of loneliness and the elusive nature of escape.
Chris Doyle's cinematography is fantastic, uniquely and compellingly capturing the essence of Hong Kong. His trademark shots in the rain add a sense of melancholy and romance to the film.
The catchy soundtrack complements the mode and pace of the film and further enhances the viewing experience. Surprisingly, the whole thing was filmed to fill time between other projects. Yet the result supplants other WONG Kar-wai films. The spontaneity is hard to recapture.