A disillusioned killer embarks on his last hit but first he has to overcome his affections for his cool, detached partner. Thinking it's dangerous and improper to become involved with a ... See full summary »
Set in 1960, the film centres on the young, boyishly handsome Yuddy, who learns from the drunken ex-prostitute who raised him that she is not his real mother. Hoping to hold onto him, she ... See full summary »
Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a... See full summary »
Kar Wai Wong
Tony Chiu Wai Leung,
A graying black-clad swordsman slays palace guards, as he flies through the air to an uncertain purpose. Centuries (or is it days?) later, gun-toting, Armani-clad super policemen -- Hong ... See full summary »
Providing an image of the daily life of ordinary Shanghai people, the story is carried out over two periods: from the 1960s to the mid-1970s, the end of the Cultural Revolution; and from the 1980s to the start of the 21st century.
A disillusioned killer embarks on his last hit but first he has to overcome his affections for his cool, detached partner. Thinking it's dangerous and improper to become involved with a colleague he sets out to find a surrogate for his affections. Against the sordid and surreal urban nightscape (set in contemporary Hong Kong), he crosses path with a strange drifter looking for her mysterious ex-boyfriend and an amusing mute trying to get the world's attention in his own unconventional ways. Written by
Perry Yu <email@example.com>
The character He Zhiwu, who is mute but able to communicate with the audience through narration, tells us he became mute after eating a tin of pineapple with a past expiration date. A character in the earlier Kar Wai Wong film, Chungking Express (1994), is obsessed with the expiration dates on tins of pineapple. In addition, they are both named He Zhiwu (though the character in Chungking Express (1994) is a cop, and the character in this film is a former criminal) and both are played by the actor Takeshi Kaneshiro. Also his cop number and prisoner number are the same. See more »
The Killer's Agent:
Are we still partners?
We've been business partners for nearly three years. This is the first time we've ever sat together. We hardly ever see each other. I know how hard it is for a man to control his passion. Partners shouldn't get emotionally involved with each other.
See more »
The following was excerpted from a wonderful essay by Momus, and nicely highlights the themes that this film is all about (which are totally missed by the complainers here who called it boring).
"Isolated, impulsive heroes, nocturnal locations, cool music... a violent world in which sensitive people nevertheless continue to dream romantic dreams indifferent to the surrounding carnage.
In 'Fallen Angels' this happens quite literally: Agent girl Michelle Reis moons and munches dreamily in the wideangle foreground while in the background a triad fight happens in slow motion.
It's the Walkman syndrome, a thing you notice when you visit the orient. The bigger the population, the more busy the city, the more people develop the ability to retreat into an inner isolation, the space of a snackbar, a tatami mat, a computer screen, a song playing on headphones.
In the next century we will all live like this.
Wong Kar Wei maps out a perfectly postmodern, perfectly oriental psychogeography of small, busy places which nevertheless become the spawning ground of ultra-private obsessions and infatuations. Love in his films is more likely to be expressed by someone breaking into your apartment and tidying it, or by masturbation, than a healthy clinch. It is the mindset of ultrafetish, and cinematographer Chris Doyle puts it into images: a clear plastic sheath worn over a Chinese silk dress, a mute riding the corpse of a pig in an abattoir, a blow up sex doll with its head stuck in an elevator door, being kicked insanely by a couple of ultra-romantic maniacs.
And there is the real star, the traum-city itself. Corridors, subways, neon, time lapse, travelators and low flying jets, trains, shopping arcades, Chung King Mansions stuffed to the gullets with sullen, sweating people cooled by antique electric fans, the scheming tattooed triads, outbursts of random violence, warehouses, chopping knives, video cameras, motorbikes speeding through tunnels, the multi-racial hand in hand with the super-commercial... Hong Kong insinuates itself into our imaginations as the ubertraumstadt, the place of ultimate nightmare and ultimate romance, where beauty is all the more poignant for its dark, cheap, pitiless setting and dreams are all the more necessary."
65 of 73 people found this review helpful.
Was this review helpful to you?