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While Tarantino, like most American HK film buffs, seems to favor the immediately accessible genre efforts that dominate the former British colony's cinematic output, Chungking Express is something altogether different. The title might suggest a thriller set aboard a train, but the film is, in fact, a romance and a comedy -- but not a romantic comedy. It's a story about cops and smugglers, but not an action film; it's an art film, but one that doesn't try to bludgeon you with its artiness.
Chungking Express didn't do great business here, but it did introduce Wong's work to American audiences, leading to the limited release of his earlier films, As Tears Go By (1988), Days of Being Wild (1991), and Ashes of Time (1994). None of those films garnered more than a cult following. His most recent, Happy Together, opens Friday at the Alliance Cinema on Miami Beach.
Happy Together, for which Wong won the Best Director award at Cannes in 1997, is neither the crowd pleaser that Chungking Express was nor an incomprehensible mess like Ashes of Time. As is the case with most of his films, it is a meandering character study that steadfastly plays its cards close to the vest. It is also one of the first major Hong Kong productions to center on a homosexual relationship.
Tony Leung (1988's Hard Boiled) and Leslie Cheung (1993's Farewell, My Concubine) play Lai and Ho, respectively, two Hong Kong lovers who travel to Argentina to see the beautiful Iguazu Falls. Along the way they quarrel over something trivial and split up. Lai, who narrates most of the film, takes a job as a greeter at a Buenos Aires nightclub.
One night Ho shows up with another man. Lai doesn't want to have anything to do with Ho, who nevertheless forces himself back into Lai's life. Their romance is off-again/on-again but rarely on for very long. As the charming but totally manipulative Ho descends into prostitution, Lai becomes friends with Chang (Chang Chen), a displaced Taiwanese, before finally heading back to Asia.
It's not much of a plot, but then Wong rarely cares about plot; his specialty is character and mood, and Happy Together courses with both. The film largely abandons the trick cutting and photography of his past three films, and it's shot mostly in black and white -- not the slick black and white of American melodramas and film noir, but rather the rougher, more impromptu style of early Jean-Luc Godard.
The opening shots of Happy Together are in color, showing the two lovers' passports -- one of which will later assume some plot importance. But without warning Wong cuts directly to a black-and-white sequence of the two men in bed, as if to immediately make clear that the central characters are gay.
In certain places in the United States, gay-theme films have a built-in audience, but in Hong Kong the subject is still risky, hence rarely tackled. Prior to Happy Together, the most prominent HK film with a gay theme was Shu Kei's 1996 Queer Story.
But during a recent interview I conducted with Wong, the director points out that the tide is turning. "These past three years gay subjects have become more and more popular," he explains. "People have begun to accept this kind of film." Initially producers resisted. "People were a bit surprised," he adds. "They said, 'Why do you want to make a movie about two men together?' And I said, 'Because I've never made a film like this before. I've never touched on this subject.' Still, they felt a bit safe because there were two very famous actors involved in the project. So they said, 'Okay, we'll see what happens.'"
The producers' misgivings were not without basis. Asian audiences were shocked by the film, as were some censors, particularly by the opening scene. "It's interesting," Wong says. "Films like The Crying Game played Hong Kong. But it's seen as somehow different with Asian actors. The film [Happy Together] was banned in Korea because the censor department didn't like that these two guys were Oriental ... were Asian ... yellow people. They thought this would have an effect on younger people. Even though they'd passed Priest and other gay films from Hollywood. They said, 'Well, they're gweilos -- foreigners, Westerners -- they're so far away. They won't have much impact on our kids. But a film with Tony Leung and Leslie Cheung might influence their thinking."
Cheung, who has been public about his own bisexuality, has played all kinds of sexually ambiguous roles, most blatantly in Farewell, My Concubine. But Leung had never played that kind of part before. And, according to rumor, he was so freaked out by the experience of shooting the opening scene that he wouldn't talk to Wong for days afterward.
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