Este drama criminal ambientado en Hong Kong sigue la vida de un sicario, con la esperanza de salir del negocio, y de su esquiva compañera.Este drama criminal ambientado en Hong Kong sigue la vida de un sicario, con la esperanza de salir del negocio, y de su esquiva compañera.Este drama criminal ambientado en Hong Kong sigue la vida de un sicario, con la esperanza de salir del negocio, y de su esquiva compañera.
- Dirección
- Guionista
- Elenco
- Premios
- 8 premios ganados y 15 nominaciones
- The Killer's Agent
- (as Michele Reis)
- He Zhiwu's father
- (as Chen Man Lei)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Argumento
¿Sabías que…?
- TriviaThe 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.
- Citas
He Zhiwu: Most people fall in love for the first time as teenagers. I guess I'm a late bloomer. Maybe I'm too picky. On May 30, 1995, I finally fell in love for the first time. It was raining that night. When I looked at her, I suddenly felt like I was a store. And she was me. Without any warning, she suddenly enters the store. I don't know how long she'll stay. The longer the better, of course.
- ConexionesEdited into A Moment in Time (2010)
- Bandas sonorasKarmacoma
Written by Tricky, Robert Del Naja, Andrew Vowles, Grant Marshall, Tim Norfolk and Bob Locke
Performed by Massive Attack
As the third vignette was unfolding, it became clear for the director that the mood of the story was different, and it deserved a separate movie: that was Fallen Angels, released in 1995. Two completely distinct plots evolving in parallel, and intertwining only in brief moments and only by hazard. A young hit-man getting his assignments through a fax machine and a sympathetic and totally immature mute (played with irresistible charm by Takeshi Kaneshiro, who was also an irresistible cop-in-love in Chungking Express).
Well, a mute cannot talk, everybody knows it, but what happens in Fallen Angels is that actually nobody seems able to communicate through human speech. The agent (Michelle Reis - I saw her also in Flowers of Shanghai) who gives the assignments to the hit-man (and even visits his narrow apartment when he is out) is a gorgeous girl, unconditionally in love for his subordinate. However she never meets him and prefers to masturbate instead. It is a terrifying impression of loneliness in a frenetic city, everybody is alone there, on her or his own, deepened in her or his own thoughts and dreams, and everybody's dreams seem crazy while only dreams keep you there to not get crazy.
I remember the cabs in a region I used to live for many years: the driver had a small computer on board and all communication with the dispatcher was through the screen, no room for bargaining of any kind, no space for any human feeling, of joy or sorrow, of sympathy or sarcasm. Here in Fallen Angels it's the fax machine, the same sensation of alienation, of loss of humanity. Humans transformed in robots, keeping their human condition for themselves only, through masturbating dreams of impossible love.
And it remains the city itself. Mark Rothko has a great observation about the relation between foreground and background in an art work: sometimes the personages (or the objects) have only the function to glorify the background ("... may limit space arbitrarily and thus heron his objects. Or he makes infinite space, dwarfing the importance of objects, causing them to merge and become part of the space world"). The same observation is somehow made by Malevich when analyzing the way Monet had rendered the Cathedral of Rouen: "...when the artist paints, and he plants the paint, and the object is his flower-bed, he must sow the paint in such a way that the object disappears, because it is merely a ground for the visible paint with which it is painted." Is this movie about people alienated by Hong Kong, or is it here a meditative poem about the city itself? One of the personages in the movie has an unexpected sentence, "Buddha said, If I don't descend into hell, who will?" The sentence passes quickly and seems at first sight without any meaning in the logic of the story. Maybe it offers the clue: Hong Kong, this space of "hyper-sub-reality" (as one of the reviewers puts it), this "Űbertraumstadt of ultimate nightmare" (apud another reviewer), actually offers the image of hell, and the heroes of the story descend there, why? To follow the archetype? And if we go again to the observation made by Malevich on Monet and Rouen Cathedral, here in Fallen Angels subject and city disappear in the gorgeous cinematic language: a great movie pushing the cinematic language to its ultimate expression. A couple of great creators: Wong Kar-Wai and Chris Doyle. Let me add here that another great contemporary cinematographer was also part in the team: Mark Lee Ping-Bin.
And if I were to choose an image from Fallen Angels, this one would be: the city in the night with its endless traffic and movement and changing lights, near the narrow apartment where the hit-man inspects quietly the fax machine.
- p_radulescu
- 22 ago 2011
Selecciones populares
- How long is Fallen Angels?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idiomas
- También se conoce como
- Fallen Angels
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 163,145
- Fin de semana de estreno en EE. UU. y Canadá
- USD 13,804
- 25 ene 1998
- Total a nivel mundial
- USD 252,415
- Tiempo de ejecución1 hora 39 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.85 : 1(original ratio)