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 of 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 <firstname.lastname@example.org>
After the sunshine and bright daytime colors of Chungking Express, director Wong Kar-Wai and cinematographer Christopher Doyle wanted to instead focus on neon, night time, and grunge for this film. 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.
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Simu de Ren
Written by Hong Yifeng and Ye Junlin
Performed by Chyi Chin See more »
It is not the P. Word
One of the most, overuse words in the internet is "pretentious." In the IMDb boards, with art films, it is rare to find a thread that does not critique the film on the ground of being "pretentious." The overuse of the word has rendered it meaningless, in both film criticism and discussion, since for the most part, it is wrongly utilized. However, it does not follow that there are not films that are "pretentious." On the contrary, there are tons of awful and misguided films that fit the label.
At first glance, Wong Kar Wai's Fallen Angels might appear to fit the negative label -- with its eccentric, unnatural, and unorthodox direction and storyline. Yet, the film does not—since there is a purpose to the bold, artistic elements. "Pretentious" only applies to films that include nontraditional elements, simply to be different, or to appear more intelligent than then it actually is; in other words, films that try to be "arty" for meaningless and for shallow purposes. Wong's daring decisions are not pointless: they actually enrich the film; the film will be an inferior product, without the auteur's aspects.
There is not a movement in the work, that the audience does not separate the fact that it is simply a "film." But what Wong accomplishes with the film medium -- like the famous painters Picasso, Matisse, and Monet did with painting medium -- is to make an abstract work that still manages to emotionally connect with the audience. Watching the characters interact is an enjoyable experience. They may be caricatures, but they make sense in Wong's Hong Kong. Despite all of them being quirky, they all have their own personality, and thus, feel organic. It is a hung out film: it feel as if you are transported to Hong Kong, interacting with the characters.
In comparison to his rest of filmography, the film is not anywhere near the top -- those spots belongs to In the Mood of Love and the Chungking Express. Its story does not match In Mood of Love; its energetic, free spirit does not match Chungking Express—mainly because it is a lesser sequel and it does not include the fabulous Faye Wong. A lesser Wong's film is still a must see, and Fallen Angels is no exception. Do not be afraid of an Impressionistic, ultra cool Hong Kong.
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