Days of Being Wild
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Movie Reviews of Days of Being Wild
Movie Review: ...in all the wrong places...
Summary: 4 Stars
Days of Being Wild, Wong Kar-Wai's 1991 film, followed his 1988 As Tears Go By and solidified his style. In turn he made these two films after a couple of intriguing, unconventional swordsman-warrior films. It's easy to see why he's now regarded as one of the top Chinese directors; both his subjects and style are unique and captivating.
In Days of Being Wild he casts some of the best young Hong Kong actors then and now--Leslie Cheung, Maggie Cheung, Andy Lau--in a tale of those who look for love and never seem to find it. Or at least not for long at all. When a completely reckless Don Juan type teases a beautiful stadium ticket taker, promising her at their first meeting he'll always remember her for the minute they shared, this is enough to seduce the lonely girl into falling for him, only to have him callously dump her when she asks him to marry her.
While she finds solace by talking to a street cop, the womanizer hooks up with a semi-sleazy dancehall girl, meanwhile roughing up his aunt's suitor for the attempted theft of her pearl earrings. His aunt chides him for driving away her older suitor, yet stoically accepts what he's done; she needs him more than her suitor. She raised him when his mother abandoned him and now is more attached to him than she realized.
The cop leaves his job and becaomes a sailor. The womanizer leaves town and hooks up with the sailor, completely coincidentally. Meanwhile the ticket taker girl and the dancehall girl find their own ways without the love they need, just as the sailor has done, trying to forget the ticket taker with whom he fell in love, never hearing from her, causing him to abandon his street, his town, and put out to sea.
The parable of a legless bird, the womanizer's fictional tale he uses in his seduction ploys, is one that frames this lyrical piece of filmmaking. The endpieces of lush jungle greenery--hundreds of thick palm trees--accompany the voiceover narration of this tale. The completely offbeat music, ranging from salsa to slow romantic dance music--competely Western--to quirky pizzicatos and glissandi, is similarly accompanied by Chris Doyle's assured cinematography. This was the first major Hong Kong film shot by Doyle and his rich style, embracing a wide spectrum of colors and tones is much in evidence, making this, as already noted, a truly unique cinematic experience.
In fact, WKW's collaboration with Doyle here is so complete, careful, well thought out, and subtle, that it would be impossible to imagine one without the other. So too is the use of the completely Western soundtrack. Set in 1960s Hong Kong, the feel of the era is effortlessly captured, also adding to the atmosphere of this rich film.
This is a landmark film in that, for its time, almost 15 years ago, it focused on aspects of life not previously shown in Hong Kong film and was an obvious departure from the martial arts movies American audiences expected from that part of the world. The advent of not only WKW but a number of 4th, 5th, and 6th generation directors from China and HK can easily count Wong Kar Wai as one of its breakthrough filmmakers. And this film is more than ample proof of that.
Loneliness, sadness, restlessness, lust, longing, emptiness. A film that resonates.....
Definitely recommended.
Movie Review: Loving someone that likes to tell the story of "a kind of bird without legs that can only fly and fly..."
Summary: 4 Stars
"Days of Being Wild", directed by Wong Kar Wai, is a well-made film about failed relationships, and the man that causes them to fail. It is a film about love, and about wanting what we cannot have. It is full of angst, but also of some very poetic moments, that make you realize the reason why you must pay attention whenever Wong Kar Wai's name is mentioned.
Yuddy (Leslie Cheung) is the "Don Juan" that makes women fall in love with him, and then forgets them. First he meets Su Lizhen (Maggie Cheung), a shy woman that looks at him in a different way when he shows his charming side, telling her "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 second woman he plays with is a showgirl named Mimi (Carina Lau), someone who knows the rules of the game but that is also likely to be hurt by Yuddy. But then, that is nothing less that the direct consequence of loving someone that likes to tell the story of "a kind of bird without legs that can only fly and fly, and sleep in the wind when it is tired. The bird only lands once in its life... that's when it dies"...
Of course, there is more to "Days of being wild" than the tale of Yuddy and the two women that love him. This film is also the story of Yuddy's search for his real mother, and of the love of two men for Su Lizhen and Mimi. Why do we want the things and people that we cannot have? This movie doesn't give an answer, but shows us how that can happen. It is not nice, but it is real, and somehow heartbreaking.
All in all, I can say that I recommend "Days of being wild". It is not my favorite Wong Kar Wai film, but it is worthwhile seeing, and that is the reason why I give it 3.5 stars.
Belen Alcat
Movie Review: Days of Being Wild (1991)
Summary: 4 Stars
Out of all of his films, Wai, in a personal statement is said to look back upon Days of Being Wild with great affection and it is easy to see why. Those familair to the sytle and thematics of Wai will instantly be able to relish the familair trappings, yet with new issues such as; abuse, denial, and maternal relationships. The dreamy, atmospheric cinematography of Christopher Doyle slowly seduces the senses and the heart. While the aural, operatic storyline frequently borders on tragedy, the film contains Wai's irresistible underpinning of irony and spiritedness. Overall, Days of Being Wild features beautiful, reminicient scoring, breaktaking scenery, ferocious performances and strong production values. My rating 4.5/5! A very human story of love (or not) and redemption.
Downside: The Kino Video restoration of the film is satisfactory and nothing more. While films such as Happy Together and Chungking Express have garnered second and even third restorations, you'd think Days of Being Wild would be an equally, if not more substatial priority to those with material rights.
Movie Review: lush cinematography, but many slow spots...
Summary: 4 Stars
I definitely preferred KWW's "In The Mood For Love," though this film shows a lot of promise: gorgeous cinematography, gorgeous cast, very lively camera movement, beautiful and affecting soundtrack, offbeat stories and characters.
The central character is basically the opposite of every dickless, stereotypical Asian computer nerd you've ever seen in the usual Hollywood trash movies, even flirts a little with the Byronic hero model. There's a clumsy attempt at lyrical existentialist philosophizing here and there but nothing too heavy handed a la Spielbergian.
It would've been much, much better with a competent film editor who could cut out about 25% of the film to make it flow more smoothly and briskly, though.
Movie Review: Days of being languorous, you mean
Summary: 3 Stars
There's only a couple wild scenes in this film. Most of the time, Leslie Cheung slouches around, his expression distant. That pretty well sums up the tone of the movie.
Wong Kar Wai's films are not inspiring. They are generally glimpses into sad or pathetic lives without hope. Yet, I have generally found them fascinating. Most of the dialog is bold and forthright, which makes for vivid characters. And I like the continual sense of "what's going on here"? His stories never go where I expect them to go. At least, this storyline, unlike the scrambled one of 2046, is strongly linear.
I also enjoy Wong Kar Wai's direction and, from this film on, the rich cinematography provided by frequent cinematographer, Aussi-born Christopher Doyle. This one is too shadowy, but they fixed that in later films.
As I watched it, I kept recognizing people and scenes and themes. That's because, even more than IN THE MOOD FOR LOVE, this film was recycled a dozen years later into Wong Kar Wai's film 2046. Leslie Cheung's role as the unrepentent ladies man has to be the model for Tony Leung's role in 2046. Of course, Carina Lau's role is taken directly into 2046. Even the music (including my favorite: Xavier Cugat's violin-spiced "Perfida") reappears.
On it's own, this is worth at least one viewing for the visual style, the characterizations and the unexpected twists and turns. It's also interesting for the respite given actors often found in chop-socky Hong Kong films, giving them a chance to really act. And, of course, there is that other layer of interest for a viewer familiar with 2046.