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Chun gwong cha sit (1997) More at IMDbPro »

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28 out of 30 people found the following comment useful :-
Turns out that lonely people are all the same., 10 August 2005

Author: Andy (film-critic) from Bookseller of the Blue Ridge

Just when you thought that you knew everything about Hong Kong cinema or about romantic adventures in film, director Kar Wai Wong steps forward and eliminates all boundaries. Transforming your typical picture of a straight couple and violently handing us the relationship of Yiu-fai and Po-wing using untraditional cinematography is only scratching the surface of this picture. If you found yourself shocked by the opening sequence or annoyed by the drastic image of the film, then you definitely are not a film junkie. This movie had everything a cinephile would desire like strong characters, a non-linear story, and the brazen truth about modern society's relationships. This was more than just a gay film, but instead a story about emotions and loves, coupled with all the turmoil that surrounds it. It is ironic that the title of the film is Happy Together, because it completely challenges the true themes. It is about love, but about the difficulties that surround a dying relationship. From the visual opening to the amazing use of several different cinematography techniques, Happy Together may not suit everyone, but to this film junkie it opened a new door in Hong Kong cinema.

This film would not have worked if it weren't for the apparent brilliance of director Kar Wai Wong. While I have been impressed with his other films like In the Mood for Love and his work on the BMW series, The Hire, this film literally blew me out of the water. To begin, the opening sequence. If this very sexual opening doesn't set the tone for the rest of the film, I don't know what will. I was shocked, disturbed, and on-edge the entire time. I didn't see the love between our two characters at all in the beginning, but that was because it was to show the destruction of their relationship. Then, Wong did several things that just impressed me and kept my attention focused on the film. First, he took these two vacationing men from Hong Kong and set them in a foreign city. So, not only was it uneasy to watch this relationship disintegrate in front of our eyes, but to be lost in a unfamiliar city only made it worse. Second, he focused the camera on only one of the characters (Yiu-fai) to enhance that sensation about Po-wing's indiscretions. Through Yiu-fai we felt the human emotions just boil through of having to see a love that only hurt. Finally, he continually changed the cinematography through different scenes. This was impressive because it only added more tension to our characters and themes. Two travelers lost in a foreign country, trying to patch a dying relationship, with a constantly changing cinematic style, was tough to watch … but that was the theme that Wong wanted to capture. This is not your typical romantic picture, but instead it showcases the truth about two men that perhaps were not the greatest fit. Even when he throws in the waterfall element, it only adds to the overall theme. The waterfall, to me, represented the falling relationship. Beauty on the outside, a violent tendency as the water falls … just like our relationship.

Wong successfully created this tension by hiring some of Hong Kong's best actors. They carried themselves with the greatest of comfort and control. I felt as if I knew these characters by the end of the film. I felt as if I had gone through a similar struggle as they did. These two men challenged the idea of "normal" relationships, yet kept their personas simple, human, and intense. You could not help but feel emotion for these two, even if you did not like the story. They kept the tones light when they needed to be, then brought you deep within the rabbit hole when the darkness erupted. The final scenes of this film are fascinating to watch, and I had to see them again. The downfall of Yiu-fai into a role similar to Po-wing was heartbreaking, yet stunning. Here we have two men who I thought were complete opposites from the beginning, yet somehow, to quote Wong, "Turns out that lonely people are all the same."

Finally, I cannot finish without saying that the cinematography was outstanding in this film. The use of black and white in the beginning and slowly bringing in the colors was breathtaking. This film was more than just actors working for a director, but instead a director creating art. Christopher Doyle bulls-eyed the tone of the film and brought forth an intense picture that only complimented Wong's work. It just impresses me to see a film, like Happy Together, where all the elements come together and work in unison. It is a rarity in today's Hollywood, but thankfully we have directors like Kar Wai Wong whom embrace it. From the beginning of the movie until the final scenes, Doyle challenges an brings together some of the most beautiful scenes in cinema, transforming the normal into the extraordinary.

Overall, this was a spectacular film. After I watched it the first time, I had to see it again, but didn't know if I could. Its emotional strength was so overwhelming that I had to stop myself. I couldn't watch these two brilliant actors tear my heart apart again. It was a sad film, it was an angry film, but most importantly it was a film about being lost in love. Those who may have enjoyed Lost in Translation, this would be a great film to match with it. While not structured the same, it does give us that feeling of being apart in a new world, struggling to get home or to discover one's self. Wong is one of the greatest directors in the world, and I cannot wait to open my soul to his work again. Brilliant film-making, determined and unmatched acting, coupled with the best cinematography this world has ever encountered! A must for everyone!

Grade: **** out of *****

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17 out of 17 people found the following comment useful :-
A film about alienation - inside and outside, 18 April 2005

Author: Sanne Lehmann (sannelehmann@hotmail.com) from Denmark

In "Happy Together" Director Wong Kar Wai tells us the story of a relationship that does not survive the alienation inside and outside.

The film is set in Argentina where two lovers are stranded because they don't have enough money to return to their native Hong Kong.

The film shows us that Fai and Po-wing are unable to find equality or balance in their relationship. It is a story about the way most relationships are defined by the balance of power.. and how this leads to despair. Fai reflects that their relationship was the happiest when Po-wing was ill and had to be cared for like a child. As Po Wing's health improves Fai draws away from him and refuses his attempts of closeness, illustrated by the constant battles over couch and bed. When Po-Wing is well enough to go out again by himself the balance of the power in relationship shifts. Po-wing slowly but surely slips away into the world of hustling. He never finds his way back to Fai who eventually saves enough money to go home.

Both are emotionally devastated by the loss of their lover. We only see them being happy together in a glimpse, as they dance a slow dance together in their room. It seems the happiness in their relationship that Fai refers to in connection with Po-Wing's illness, is an isolated kind of happiness that he himself enjoys without Po-wing's knowledge. If they are ever indeed Happy Together we see it only in facial expressions, in their tone of voice but these are expressions of love and tenderness that never seem to reach the surface that remain unspoken.

Wong Kar Wai's visual style is absolutely stunning. He conveys the alienation inside the relationship - and the alienation outside - (I am referring to the fact that they are in a different country) through colors and camera-movements. We are constantly looking at the protagonists from a corner high above or through the window of a seedy bar. Every single shot feels claustrophobic and it irritates the viewer. It makes the viewer long for closeness and clarity. It imitates the longing of the characters and their attempts - and failure - at connecting to each other. Their feelings, as does the eye of the lens, float above them in a silent, detached loneliness.

"Happy Together" is one of those films that I do not really enjoy watching. It is actually physically painful to watch because it hurts the eye as much as it hurts the soul. The film makes its style and subject matter into one flesh, a "happy" marriage of form and content.

9/10

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16 out of 18 people found the following comment useful :-
the face of loneliness, 11 March 2004
Author: Tan karhui from Singapore

In this Wong Kar Wai production, loneliness takes on the face of 3 Chinese travellers who, after alienating themselves from the society they came from, end up at the end of the world. Argentina, which is the antithesis of HK, may be the farthest place you can get from HK, but still they cannot entangle themselves from the emotional baggage they have been carrying. Loneliness is a state of mind which follows you no matter where you are, and ensnarls you when you are at your most vulnerable.

While the story may be more famous as a film about gay relationship, it is in fact, not so. The lead characters just happen to be gay, and loneliness, with all the jealousy and melancholy that comes with it, takes centrestage.

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16 out of 19 people found the following comment useful :-
Brilliant & Touching Story of loneliness & dislocation, 16 September 2003

Author: David (davidals@msn.com) from Chapel Hill, NC, USA

I didn't think so the first time I saw HAPPY TOGETHER, but I really think this film is a masterpiece. Technically it's amazing - the hand-held camera-work is incredible, and the mindbending shifts from saturated colors to monochrome (which I first felt was a stylish stunt) really underscores the loneliness and alienation of the characters brilliantly - the overall effect by the films' end is devastating.

HAPPY TOGETHER was apparently also - at least partially - inspired by the Argentine novelist Manuel Puig, author of 'Kiss Of The Spider Woman' among many other novels, and Puig's fiction tackles similar issues in a similarly fractured style (filled with footnotes, digressions and sudden shifts in perspective), all to incredibly powerful emotional effect.

If HAPPY TOGETHER is something of an homage to Puig, it's a great one. On it's own it's also a devastating portrait of a disintegrating relationship.

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11 out of 11 people found the following comment useful :-
"Imagine me and you...so Happy Together", 26 January 2006

Author: AnninaH from Finland

Well this is certainly one of my absolute favorite movies ever.When I first saw it about six years ago I loved it,and still do.This movie is just so beautiful and emotional it's incredible.The cinematography is very inventive and different.I love the different uses of black and white footage and the colours in this movie.

Two Chinese gay men travel to Buenos Aires and are planning to visit the Iguazu falls before returning to Hong Kong,but they never seem to get there...together anyway. The city of Buenos Aires seems so big,energetic and full of life but also sometimes very lonely and cold. There are feelings of joy,love,affection,loneliness,jealousy and an overall sadness in the whole thing,it makes me feel sad just thinking about it. This is really a story of two people in a typical love/hate,on/off relationship.And it really doesn't matter if you are gay or straight or whatever.These are themes anyone can relate to.But if you are very prejudiced you may not like it.

The actors are absolutely incredible in their roles as well. Leslie Cheung and Tony Leung make you really feel the affection their characters still have for each other...and of course all the negative feelings too. This is not a plot driven movie at all,but more like a series of snapshots in the life of a couple on the verge of a final breakdown.The end of their relationship is unavoidable but they still cling to their love until it's too late to go back.It's a very emotionally driven movie and the sad but sweet mood created is the most important and memorable thing in the movie for me. The music also seems to fit the film like it was specifically written for it.There is some Frank Zappa and some fantastic Argentinian tango and of course the very fitting ending theme song Happy Together.Now this is how you make a movie about a love coming to an end!Watch and learn Hollywood ; )

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12 out of 13 people found the following comment useful :-
Cinema of poetry, 21 October 2002
Author: ZeGatti from São Paulo, Brazil

Aw-kommon's notes on "Happy Together" are typical of those who cannot approach a film without aligning it with definite paradigms and secure standards. In this case, the paradigm is "Midnight Cowboy" -- a film that belongs to a totally different genre, was written and shot according to "naturalistic" procedures of Hollywood commercial cinema and, most of all, deals with romance from a quite different perspective. In "Midnight Cowboy" redemption of homoeroticism comes through death, a strategy that was quite revealing of the morals that prevailed at the time the movie was produced. "Happy Together", on the other hand, deals with romance as if it could have been homo-, hetero- or whatever, and even though homoeroticism is such an essential element to the narrative, the protagonists'love affair is a pretext for the emergence of their decentered identities, their search for love and friendship and, most important, it ends on a note of hope of future encounters. All that in a poetic tone, one that demands a continuous esthetic reconstruction, hardly understood (or accepted) by those who are encapsulated in a world of conventional filmmaking.

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9 out of 9 people found the following comment useful :-
Raw, Imperfect, Intense, 14 November 2006

Author: gonzaga ext from Philippines and United States

"Happy Together" is a depressing film. Yet it's one which I keep coming back to when I feel down and heartbroken.

Lost souls, lonely, longing, and lovelorn, are staples in the Wong Kar-Wai universe. His best works uncannily portray the beauty and misery of being struck by love and its multiple variations and illusions. His fluid, script-free, improvisational style of work is now legendary and applies well to the unpredictable nature of this subject matter while giving his works a raw, open-ended quality. "Happy Together" is quite probably his rawest work to date and, as a result, one of the most difficult to watch (this honor goes to "Ashes of Time"). The rawness makes it seem organic. It feels as if it's an ever-evolving creature which hides and exposes its multiple facets with each different viewing.

Argentina sounds like a great romantic escape for most of us but for our couple, Po-wing (Leslie Cheung) and Yiu-fai (Tony Leung), it's a lonely, bleak, melancholic place on the edge of the world. Travelogue film this isn't. Buenos Aires may have initially held romantic promise for them. "Let's start over," Po-wing asks Yiu-fai yet again, and off they go to South America to work things out. Soon, however, the place becomes a physical representation of their relationship. It's claustrophobic and oppressive, something that could've been so beautiful yet one which they now need to escape from. Wong beautifully portrays spectacular Iguazu Falls with mythical significance throughout the film. Initially nothing more than amusing kitsch, it eventually progresses as the defining geographical manifestation of their amorous aspirations. It achieves such heavy, symbolic power, the last time we see it is one of the most memorable scenes in the film.

If the homosexual angle seems downplayed here, it is to parallel the film's treatment. It's so matter-of-fact it's irrelevant and even embarrassing to make an issue out of it. This is a couple who just happens to be gay. Indeed, there is nothing gay-specific about the film, the couple may well have been straight and it wouldn't make a difference at all.

"Happy Together" is such a vivid examination of a relationship, it's occasionally painful to watch. The emotional authenticity, however, makes it quite absorbing. Wong Kar-Wai often aims for the heart and, with the possible exception of "In the Mood for Love", he's never been closer to his target.

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8 out of 11 people found the following comment useful :-
A study of a traumatic relationship, 27 August 2002
Author: John Simpson (post@jandesimpson.wanadoo.co.uk) from Hastings, England

"Happy Together " is essentially a study of a couple falling in and out of love. Their sex - they are a gay couple from Hong Kong - hardly matters: the film could just as well have been about a straight or lesbian couple. The fact that very near the beginning there is as explicit a scene of male anal intercourse as one is likely to encounter in mainstream commercial cinema is far from gratuitously sensational. As the film is meant to start on a passionate high, this is the most convincing way of doing it - so be it. The director has the integrity not to repeat this for the reason that the couple never quite feel the same about each other again - indeed there is a great deal of alienation. Both have arrived in Argentina in search of work. Although the jobs undertaken by one of the pair, Lai, are fairly menial, fist as a doorman at a Tango club and then a kitchen worker, he seems more stable than his companion, Ho, who does little but hustle, gets beaten up fairly early on and spends much of his time in an incapacitated state. In the room they share there is a lampshade depicting the Izuazi Falls. The cascade almost becomes a symbol for the relationship they would ideally like to achieve. Early on they hire a car to look for it but lose their way. After their relationship has finally broken Lai finds it, but as he is alone, the landmark seems sadly lacking in excitement. There is a third main character, a straight guy from Taiwan, who works in the kitchen with Lai. With his amiable self-sufficiency he seems to have been introduced to provide a balance to the angst of the main pair, a device that works well as it reinforces our sympathy for them. "Happy Together" looks rough and crude. A hand held camera is used with frenetic nervousness. Sequences of monochrome alternate with scenes that are almost perversely over-coloured. I know it is fashionable to give some films a nightmarish look. Here I found it a distinct stumbling block to be got over for the sake of a work that says so much about loneliness, homesickness and the struggle of people simply to be "happy together".

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5 out of 7 people found the following comment useful :-
Best movie ever made, 24 April 2005

Author: lapming from United States

This is the best movie ever made, beautifully shot and so many memorable scenes. We could feel the character's pain and loneliness in the movie, being stuck in a foreign country in a shitty apartment with a shitty job.

What I liked most about the movie was that Wong didn't make a movie about two gay people, he made a movie about two lovers. Tony being the man in the relationship just wanted to see his lover in the apartment after a long day of work. Leslie being the "female" of the relationship wanted someone to take care of him, but yet also wanted adventure and hated being stuck in an apartment all day as a "housewife".

As for the cinematography, it is right up there with In the mood for love. Tony Leung, a big star in Hong Kong, willing to do the sex scene because he knows the brilliant of Wong Kar Wai. Would any of the Hollywood stars do the same? 10/10

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2 out of 2 people found the following comment useful :-
In the Pantheon of Favorites, 26 December 2005

Author: mllora3 from United States

*** This comment may contain spoilers ***

I come into the discourse of Wong Kar-wai a bit late in the game. Seeing "Happy Together" after having seen "2046" - well it totally skewed my viewing. I saw in the last scene - the cityscape scene - the start of "2046." To be perfectly honest, I am not surprised that Wong Kar-Wai received the Best Director award at Cannes in 1997 for "Happy Together." "Happy Together" is a story of the relationship between two homosexuals set in Buenos Aires - but just like all Wong Kar-wai movies it is also about more than just a straight up narrative. In this movie - as we do with others of Wong Kar-Wai oeuvre we are beset with musings of the hopeless romantic.

Wong Kar-Wai zeroes in on the relationship between Lai Yiu-Fai (Tony Leung) and Ho Po-Wing (Leslie Cheung), acting like a typical married couple, a point of view that most viewers should be able to relate to - whether gay or straight. Lai and Ho are ex-pats stuck in Buenos Aires. After an ill-planned attempt to see the Iguazu Falls - they drift apart. Lai becomes a doorman at a tango club, where he exists from hand to mouth. Lai's wages barely allowing him to live in his claustrophobic flat in a rundown building. The mise-en-scene is one of the most striking signatures of Wong Kar-wai. The claustrophobic cityscape is played out in "Days of Being Wild," continued in "In the Mood for Love," and culminates aesthetically in "2046." Ho, conversely, sells himself out as a gigolo, making a living as a sycophant in a series of one-night stands. After finding Ho bleeding on the street, beaten up by a trick gone badly, Lai takes Ho back and takes care of him. The spirit of Iguazu is always a looming presence with the tacky lamp.

Happy Together exemplifies the hallmark signatures of Wong Kar-Wai's. The black and white strategy is inexplicably wonderful - it had me at hello. The story, rather than being plot-driven, is theme-driven, with many layers of interpretation. The characters are (as usual) a juxtaposition of existential issues writ-small. The contrast between Lai and Ho is on one level the more obvious tension that Wong sets up. Lai is the more reserved and arguably the more "maternal" of the two. Stephen Teo makes the argument that contrary to public opinion, this movie is not a re-enshrinement of Leung's masculinity. I agree with Teo in that the taking in by Lai and caring for Ho is affirmation of Lai's "femininity." Hard to figure what was going through Wong Kar-wai's head when he did this but it seemed like a conscious attempt to reify in our mind the homosexual persona of Lai. We already know that the late Leslie Cheung was an open homosexual - which somewhat already informs our watching of him. Conversely, it is the strong heterosexual persona that Tony Leung has cultivated that somewhat hinders believability. But, for the movie's sake I believe. Lai is haunted by his thieving past. Ho, the more aimless of the pair - is not saddled by memories - time is not an issue with him. Hearkening back to his role in "Days of Being Wild" - he is once again self destructive - Yuddy but homosexual.

"Happy Together" is unfortunately not my favorite Wong Kar-wai movie. However, having said that it is arguably my favorite Wong Kar-wai film in terms of its cinematography. It captures for me the inner city struggle that my favorite "In the Mood for Love" could not. Since "Chunking Express" was a lighter film - it did not have that same impact on me as this did. The movie is perhaps the straighter in terms of narrative with the usual existential angst and the usual very, very stylish-camera work. In terms of its angst and desperation examination, I have to but it up there with the pantheon of favorites. Bravo! Miguel Llora

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