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…
A meticulously constructed mood piece from the master Hong Kong filmmaker. Despite being the director's early effort, it features his unique style and captivating atmosphere.
This hadn't really clicked before (I would've said 4 or maybe 4.5) but this viewing was great. It breathes like a Korean drama, the corrupted characters, the hilarious situations, the odd involvement of motherly care (the only true love that Yuddy or Tide ever really had). It's funny, Lulu gets mad at Su Li Zhen but not Yuddy. This is how people are in real life, rather than get mad at the one who hurt them, they go after the one who replaced them. Always sort of amusing in my eye. The opening to this is completely brilliant, between the coca cola cooler, the tropical forest (seriously I could watch that on repeat for hours), and the "one minute friendship",…
luv u leslie
Days of Being Wild is the "remake" of Rebel without A Cause (1955) and of course this "remake" is better!
Unlike so many other ensemble pieces, Days of Being Wild doesn’t proclaim itself as such from the onset. There’s no rapid montage introducing us to all the various characters we will meet along the way. When we start, we are certain that Leslie and Maggie Cheung’s characters are going to be our protagonists. Yet before you know it, one character is jettisoned for another and it is their film, for a while…
A full year before Slacker, Wong Kar-Wai was already excelling at the type of narrative Richard Linklater would be praised for with that film. It’s a daisy chain structure where one character introduces us to another who in turn introduces us to another. Everything loops back eventually but…
It's always the reaction that's difficult, not the trauma.
The Kar-Wai trademarks are here, the film as a whole just isn't that interesting. The female actors here are quite something though; they almost transform the film into being better than it is.
Seconds tick by slower in Wong Kar-Wai films; it's not surprisingly that they're all secretly about the transience of time. DAYS OF BEING WILD is made into a meditative experience by superbly dreamy cinematography and a listless attitude running throughout. Leslie Cheung is the main character, but his apathetically handsome York fails to make a long-lasting impression...on the contrary, any scene with Maggie Cheung is captivating and shows the film working at its best. The plot itself isn't so much interesting though, in how we spend time with a young male furious at his adoptive mother figure who rejects any notion of commitment, and women who mostly play out the qualities of shrill or aggrieved. I had the thought that…