- ► 2018 (98)
- Claude Chabrol | La Demoiselle d'honneur (The Brid...
- Zaza Urushadze | მანდარინები (Mandariinid) Tangeri...
- Wong Kar-wai | 旺角卡門 (Wàngjiǎo Kǎmén) (As Tears Go...
- Alexander Korda | An Ideal Husband
- Mark Robson | The Inn of the Sixth Happiness
- Edmund Goulding | The Old Maid
- Jean Renoir | Le Crime de Monsieur Lange (The Crim...
- Michael Cacoyannis | The Cherry Orchard
- Julien Duvivier | Lydia
- Louis Malle | Vanya on 42nd Street
- Max Ophüls | Le Plaisir (House of Pleasure)
- Michelangelo Antonioni | I Vinti (The Vanquished)
- Edmund Goulding | Grand Hotel
- Alexander Korda | The Wedding Rehearsal
- Jaco van Dormael | Le tout nouveau testament (The ...
- ▼ May (15)
- ► 2016 (172)
- ► 2015 (127)
- ► 2014 (118)
- ► 2013 (124)
- ► 2012 (147)
- ► 2011 (134)
Wednesday, May 24, 2017
Wong Kar-wai | 旺角卡門 (Wàngjiǎo Kǎmén) (As Tears Go By)
by Douglas Messerli
Jeffrey Lau and Wong Kar-wai (screenplay), Wong Kar-wai (director) 旺角卡門(Wàngjiǎo Kǎmén) (As Tears Go By) / 1988
The first film of Hong Kong director, Wong Kar-wai, As Tears Go By is a gritty gangster movie that reveals what will later be the director’s signature style: images of multicolored romanticism revolving around characters are trapped by their own failures to be able to play out the love they desire.
In this film the lovers are a handsome young mob enforcer, Wah (Andy Lau), who is well-liked by the godfather and other toughs who for him. However, Wah’s younger brother, Fly (Jacky Cheung), as some of the other mobsters claim, is “out of control,” and Wah is forced to spend most of his time getting his younger brother out of hot water, often after brutal beatings from Tony (Alex Man) and his gang members.
Quietly, Ngor insinuates herself into Wah’s world, cooking for him, cleaning up, and even buying him a new set of glassware. Discovering that she is not ill after all, she departs, leaving a note behind to tell him about the new glasses, suggesting that she knows all of them will soon be destroyed, but that she has hidden one away for later use; she also invites him to visit her someday.
Haunted by her quiet beauty, Wah follows her back to her hometown, Lantau. She tells him that she is engaged to her local doctor, and he begins the boat trip home before receiving a message that he should meet her by the quay. A love affair soon follows, but time and again the pacific life they live together is interrupted by Fly’s disruptive actions back in Hong Kong.
Although Wah has tried to find Fly a normal job selling fish from a local cart, Fly hates his job, and returns to Tony’s club, destroying the mobster’s car, and threatening him with a gun. This time even the godfather will not intrude, and both Fly and Wah are severely beaten by Tony and his gang.
Wah attempts to return to Ngor, but once again he hears of even more serious difficulties: Fly has offered Tony to assassinate a heavily guarded informer, if Tony agrees to release him from his debt. The situation is clearly a suicide mission.
By the time Wah reaches him, Fly has already shot the informer and several of his guards, but he himself has also been killed. With true sacrifice, Wah finishes up the killing and is himself shot to death.
In some respects, even in 1988, Wong’s characters’ actions parallel the events upcoming 1990 transfer of the highly westernized city to China. The love the former Colony might have for all things western ultimately will clearly have to sacrificed to the new order. Love, in short, is thwarted in this city, long of the cusp of transition from a culture of openness to the dictatorship that the city faces, and which Wong’s characters so obviously reflect.
Wong is not always sure of his focus in As Tears Go By, sometimes prettifying the ugliest of human behavior, and at other moments sentimentalizing and even fantasizing Wah’s and Ngor’s love (it’s unexplained, for example, how Wah, already on the boat to Hong Kong could suddenly get back to the quay in time to greet the waiting Ngor), and, even more seriously, creating plot strings that go nowhere (why was Ngor so convinced of her nonexistent illness, and why?); we can, nonetheless, see that the director’s instincts are spot-on. Besides, if Ngor’s illness is a product of her hometown doctor’s imagination, by the end of the film she has a deeper sickness to face for the rest of her life.
Los Angeles, May 24, 2017