Doesn't the title of the list explain it well enough? This is a list of 200+ quality "short" films. Easy…
Days of Being Wild
The movie is set in Hong Kong and the Philippines in 1960. Yuddy, or 'York' in English (Leslie Cheung), is a playboy in Hong Kong and is well-known for stealing girls' hearts and breaking them. His first victim is Li Zhen (Maggie Cheung) who suffered emotional and mental depression as a result of Yuddy's wayward attitude. Li Zhen eventually seeks much-needed solace from a sympathetic policeman named Tide (Andy Lau). Their near-romance is often hinted at but never materialises.
“ I’ve heard there’s a kind of bird with no legs. All it can do is fly and fly. And when it gets tired it sleeps on the wind. This bird can only land once in its whole life.”
Nothing describes better the series of beautiful films that Wong Kar-wai has made than this piece of poetic philosophy. When you, I or anybody experience the sheer magic of these works and then take a moment to understand what it has all been about, the result of a careful observance would be the enlightenment of the flightless bird.
We are all flightless birds who go through the motions of life waiting all the while for the indescribable enigma of the elusive…
Having seen and loved 2046 and In the Mood for Love, I was excited about finally seeing the first of the trilogy. I expected it to be good, but not as good as the other two. Well, it turns out I was right, but just barely.
Wong Kar-Wai is the master of loneliness and longing. No one does it better. It is not the easiest thing to film, this inner life, but he does it brilliantly. One of his ways is to show rain. He doesn't use rain in that typical way where the character is looking out the window at the bleakness of it all. He doesn't do it to set a tone or a mood. He does it…
There is a danger in not letting things go. In holding onto love (or its emotional siblings) past the expiration date until it spoils. It turns sour. It rots. It starts to change the meaning of love from the inside out for the person who won't give up the ghost. As much of a bum York is, he's a victim of this decay through his thwarted attempts to find his birth parents, and it's catching. Li Zhen and Mimi both find themselves in the quarantine zone at different times. In the end, the sickness gets York, and we're left to wonder if the same fate awaits Mimi and Li Zhen (or did Li Zhen take the antidote in time thanks…
What a Wonderful World Challenge Film #2
My third film by Wong Kar-Wai (Chungking Express and In the Mood for Love), and it is a testament to his outrageous talent that this would rank as my least favorite of the three. The man has an amazing ability to really bring out the humanity in the human beings his camera studies, with every frame exuding an authenticity that removes the idea of the subjects on screen merely being actors playing characters. From what I have seen during my three experiences with his work, while he deals with the loneliness and depression that can be associated with relationships, I also sense a tenderness and decency to the people he films and the…
Film #3 of Project 90
”16th... April the 16th. At one minute before 3pm on April the 16th, 1960, you're together with me. Because of you, I'll remember that one minute. From now on, we're friends for one minute. This is a fact, you can't deny. It's done.”
The story of people who can’t experience a pleasurable romantic relationship with spiritual gains seems to fascinate Wong Kar-Wai, like his In the Mood for Love (which sadly I wasn’t able to adore) here he portrays people who suffer from not being able to enjoy their relationships with each other, people who seem to be in a vicious cycle of human relationships where whatever they do to make things better only makes…
"Wong Kar-Wai's second feature is a brilliant dream of Hong Kong life in 1960. A young man of Shanghainese descent drifts through a series of casual friendships and uncommitted affairs, unconsciously pining for a relationship with his mother, who has started a new life in Manila. He finally takes off for the Philippines, where he sets himself up for the ultimate fall... The terrific, all-star cast enacts this as a series of emotionally unresolved encounters; the swooningly beautiful camera and design work takes its hallucinatory tone from the protagonist's own uncertainties. The mysterious appearance of Tony Leung only in the closing scene heralds a sequel that will sadly never be made. But this is already some kind of masterpiece." (Tony Rayns)
'Days of Being Wild' is the first collaboration between director Wong Kar Wai and cinematographer Christopher Doyle but feels like it could be there fifth or sixth or seventh work together. It's only the second film directed by Wong and can still be counted among his best work, their best work.
The unique pleasures of Days of Being Wild have since become Wong Kar Wai's directorial trademarks: the plotting is relaxed to the point of being almost formless but its images and dialogue manage to offer a palpable, if sometimes inexpressible poetic throughline. The characters crash against each other as if by fate and are often glamorized icons, like the faces of a silent-era melodrama, full romance and desperation.
Wong Kar Wai is one of cinema's most singular voices and in Days of Being Wild he established and just about perfected his unmistakable style
That Tony Leung scene tacked on to the end of the movie may have been originally intended to set up the scrapped sequel, but as the film now stands without an explicit follow-up, the scene sure makes for one of the most satisfyingly ambiguous finales of all time.
I remember I first gave this a watch right after Chungking Express got me fiendishly into Wong Kar Wai. It's definitely not as flawless as Express but there are plenty of highlights. This movie is a tragic character study of how each key player deals with rejection, whether it be romantic or familial. It is pretty depressing to see people we've grown to care about and root for destroy themselves out of pain and anger. The protagonist is quite reminiscent of Heathcliff, a sympathetic character of chaos and dark, moody intentions.
Days of Being Wild is the story of a man and the women in his life. Apparently upset about being adopted, he juggles the affections of two different women while trying to figure out how he really feels and what he really wants to do with himself. Though Wong Kar-Wai can excel at making these kinds of stories ache with romantic melancholy, Days of Being Wild ultimately falls a bit flat.
The biggest issue just being that these characters all feel like they've been forced together by the plot and not from being hopelessly attracted to each other. The main character, York, played by Leslie Cheung, is a sullen jerk who treats most people in his life like crap. The…
More like Days of Being Boring!
It felt like I was watching this movie for days, before something, anything happened! And then something really big happens, but it's so out of left field without any sort of foreshadowing that I laughed. Like a "What the fuck?"
York sexually harasses women and they like it. But he only does this because his mom gave him up for adoption.
The end. Or is it?
Pretty shots, good acting, but I could walk over to my neighbor's house and they probably could tell me a more interesting story from something that happened to them last week than what went on in this film.
Since my name is Bramaster, I'm contractually obligated to note that a woman does indeed appear in a bra for about 10 seconds.
Somewhere between the love soaked kinetics of Chungking Express and the melancholic desperation of In the Mood for Love lies Days of Being Wild. The film is ostensibly about York, a selfish bastard who arrogantly floats in and out of the narrative at will, leaving the other characters behind endlessly waiting for him. Treated cruelly by his mother, he turns around and treats everyone close to him cruelly in turn. Despite his callousness, he seems to easily inspire loyalty and love from people with minimal effort, which he then flees from when it gets too constricting.
Although there are many memorable shots and scenes, and some impressive camerawork, the film ends up feeling too disjointed to work together as a whole.
If you like to watch a live action Facebook news feed set to smooth jazz, this is the movie for you!
I sometimes have a hard time watching Asian films with subtitles, as the words don't really sync up with the body language in most instances. That was especially apparent in a film like this, with little forward propulsion and lots of bland interactions between people with no redeeming qualities.
Its Wong Kar Wai....what else is there to say