Wong Kar-Wai Analysis

1268 Words 6 Pages
Register to read the introduction… It follows the life of a policeman named Ho Chi-wu and also known as "Cop 223" who has just been dumped by his girlfriend and desperately misses her. Cop 223 vows to reconcile with his ex-girlfriend by 1 May, his twenty-fifth birthday. Counting down to the reconciliation since their break-up on 1 April, he buys a can of pineapple, his ex-girlfriend's favourite fruit, with the expiration date of 1 May every day. Coincidentally, that is also the same day which a mysterious woman, with a blonde wig, plans to complete her drug deal. On 1 May, Cop 223 finally realises that his ex-girlfriend is not going to return to him and ends up eating all the thirty cans of pineapple in a night while the blonde-haired woman's drug deal backfired. Both of them meet in a bar and spend a night of innocent sleep with each other, with Cop 223 falling in love with the unnamed woman. In bridging the second story to the first, Cop 223 later bumps into Faye, a woman working at the Midnight Express, in a freeze frame and his voice-over remarks, ."..I know nothing about her. Six hours later, she fell in love with another man."

The second story introduces another policeman, simply known as "Cop 663", who has also been jilted by his girlfriend, an air stewardess. He, like the first policeman in the previous story, frequently patronises the
…show more content…
Like most of his other films, Chungking Express was shot using a hand-held camera, especially the action sequences, to gain greater control and mobility in framing those shots, adding a vibrant burst of energy and movement to the film. The camera is constantly moving and shifting. Canted framing and unusual angles were used throughout the film. Long shots were used to capture the characters walking away from the camera along alleys and pathways while big close-ups were used to focus on the rather moody and nonchalant expressions of the protagonists. Freeze frames were also used to capture significant moments in time, which in particular was used in the bridging scene where Cop 223 bumps into Faye, the female character in the second story.

Wong Kar-wai uses colours and varying tones to create different moods in his films. In Chungking Express, constant blue hues reflect the moodiness of the characters. Wong Kar-wai used "blues and greens of artificial exterior illumination and yellows of interior lighting; the colors bleed fluidly across the screen" against the "blues of the pre-dawn sky" (Stokes 194). He managed to capture the essence of Hong Kong's busy nightlife and skyline through an array of neon signboards and street lights which is essentially a part of the city's postmodern urban

Related Documents