A Fei jing juen, 1991
[Days of Being Wild]
Wong Kar-Wai
- Spare compared to some of his later work like Chungking Express and In the Mood for Love in terms of colour, music and camera angles.
- Characters trying to transcend the mundane sorrow of their lives via their quest for acceptance.
- Utlimately unconvincing, almost catalectic. Perhaps blinded by love for the thematic strength of it's screenplay ?
- Nothing in Yuddy's character inspires chemistry (love, anger, hope, hatred, etc.) between him and the characters he interacts with (Yuddy & Su Lizhen, Yuddy & his adoptive mother, Yuddy & Tide).
- Attempt to create a melancholic atmosphere to depict characters' sense of incompletion with low lighting, rain and lack of colour contrast. But there is no intensity in the depicted melancholy, perhaps due to the colours used. Compare this to melancholy and longing beautifully realized in Kieslowski's La Double Vie de Veronique (sepia overlay) and Trois Couleurs: Bleu (blue imagery).
- Technique:
- Repeated scene of the slow moving, blue filtered landscape of the (Filipino ?) countryside.
- Interestingly, Tony Leung mysteriously appears in the last scene.