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…
"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)
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…
The lady gave Andy Lau a key to room 206, but he used it to unlock room 204. Having watched this after "In the Mood for Love" and "2046", these numbers sure ring a bell.
A playboy, his victims, and their lovers all become entwined in 1960s Hong Kong. I'm not very wild about "Days of Being Wild." I think it's very good, and Wong's "very good" is better than most filmmaker's average outputs, but it lacks most of what makes Wong such an interesting, astounding filmmaker.
Let's start with the good. As always, Christopher Doyle shoots the film beautifully, and it's edited with an urban intensity. Wong's films always look good, and it's hard to argue a better director/cinematographer pair than Wong/Doyle.
I think the performances are iffy. Leslie Cheung and Rebecca Pan give the film's best performances. Cheung's playboy, while tongue-in-cheek, is very fun to watch. He was always good at playing a…
Ironically, for a movie about time and memory and characters who just want to be remembered, I had a hard time remembering this film. I'd seen it before, less than a decade ago, and yet I found almost nothing familiar about it. Wong films have a way of fading, like dreams, which I think is partly the result of his ethereal style, but mostly due to the way he constructs his screenplays through improv and whimsy. This is one of his more successful films, I think, as it feels rigidly controlled even in the midst of his gambol gamble.
My memory of this film has faded to a point where I cannot properly recall enough to give a solid review. I remember a feeling of sadness and longing in myself as the credits rolled. I remember believing this was the second best Kar-Wai I had seen. I remember a watch and the beautiful dialogue surrounding it. That's about it.
Man, how can Wong Kar-Wai capture romance so beautifully?
Such a touching movie.
Discovering new directors could make for some great phobia's. The fear that you stumble upon experiences that leave you ambiguous and frustrated, as figuring out the intentions of an artist is not always a joyful experience. "Days of Being Wild", without having seen Wong's other films, is such an experience. It occasionally shows cinematic greatness, and the Don Juan-like take on existentialism (hello there Camus) continues to unfold in your head. But most of the time, I was just bored.
This movie felt really heavy; you could almost feel/smell the oppressive heat, sweat and longing.
Some of Wong Kar Wai's most mature work is on display here . I didn't understand some of the films characters acting and choices so it kinda took me out of the experience a little bit. Nonetheless I enjoyed it , beautifully shot and lighted too.
This is my fifteenth movie in the Letterboxd Season Challenge 2015-16 . This was my third Wong Kar-Wai film. This was a compelling drama about seeking love and discovering one's identity. I especially enjoyed the lead performance of Leslie Chung as Yuddy and Maggie Cheung as Su Li-zhen. I look forward to revisiting this in the future, I expect it will get even better on a second viewing.