Simultaneously his wandering eye has found a mysterious woman in a blond wig (Brigitte Lin in a now iconic turn), who just so happens to be a big player in the drug underworld. This date resonates with Cop 223, for that represents the day he has decided he will get over his lost love and acquire a new one.
– Amy Taubin, “Chungking Express: Electric YouthĬhungking Express charmingly introduces us to the daily routine of Cop 223 (Takeshi Kaneshiro, excellent), as he obsessively purchases a can of pineapples with the expiration date of May 1.
#CHUNGKING EXPRESS SONG HOW TO#
… imparts a sense of distance mixed with tenderness, and also focuses on the dominant issue for heterosexual young adults: how to negotiate the desire and confusion they feel vis-à-vis the opposite sex.” What Jean-Luc Godard did for ‘the generation of Marx and Coca-Cola’ in the mid-1960s, Wong Kar-wai did for restless Hong Kong youth during the anxious decade that preceded the handoff to China.
#CHUNGKING EXPRESS SONG MOVIE#
“Chungking Express was the Masculin Féminin of the 1990s, a pop art movie about cool twentysomethings looking for love in the city that has replaced Paris as the center of the world-cinema imagination. The film would organically grow into an often beautiful and responsive work, challenging and tender, that would stand as a attestation to his trust and choice in cast and creative collaborators. Wong’s desire and propensity to work without a script supplied Chungking Express with some sublimely cockeyed cadences and idiosyncrasies. Starting with little more than a sketch of an idea, a few coherent characters and some very specific locations, the plot and the nitty-gritty would all emerge when the filming began. Shot entirely in sequence over a scant twenty-three days––during a hiatus in the middle of Wong’s wuxia epic, years in the making, Ashes of Time––the director wanted to fill this gap by making a quickie movie to restore his creative flow. This charming and comical chef d’oeuvre offers a romantic and cordial reverie in the tradition of Jean-Luc Godard’s Masculin Féminin (1966) and Pierrot Le Fou (1965) as personable young adults estimate their lovesick aches and irritations to pop songs and incidental toy airplanes. Shot rapidly and affording all the more vitality and improvisational fireworks for it, Wong Kar-wai’s picaresque laudation to the most alluring heavy hearts in Hong Kong is nostalgic, rollicking, and constantly breaks new ground. I was like, why am I crying? And it’s because my feelings for this movie run so deep –– I’m crying not about the movie, I’m crying because I’m just so happy to love a movie this much.” “I’m watching and all of a sudden I start crying –– tears started falling, about three different times during the movie.
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