Wong Kar-Wai’s 1994 film Chungking Express is a vibrant and thoughtful depiction of humanity’s attempt to overcome the void left by that which is missing. With a fusion of energetic visuals, streaks of melancholy and down-beat humour, this chic film is a unique and fascinating portrayal of mankind’s struggles with loneliness, isolation and discontent. Its mishmash of emotion, plot and colour gives Chungking Express a dreamy impressionistic charm and affords it the reputation as one of the most influential and groundbreaking contemporary Asian films.
The film consists of two sequential stories linked not by the characters, but by the themes and setting. The narratives revolve around two police officers trying to come to terms with the loss of their girlfriends and their subsequent feelings of solitude. Both stories unfold in and around the bustling, multi-cultural streets of Tsim Sha Tsui. Nevertheless, this congested location does not detract from the film’s aura of remoteness, but instead enhances it, conveying the sense of isolation a person can feel amongst a crowd.
The first story occurs in the concrete-jungle of Chungking Mansion – the basis for the film’s title – and follows the post-breakup period of police officer 223’s life. Played by Takeshi Kaneshiro, officer 223 is a man obsessed with his separation from his former girlfriend May. Whilst musing on the brevity and fickleness of love, his path crosses that of a female drug smuggler and he enters into a platonic and brief acquaintance with her after they meet at a bar. Yet despite the unsatisfactory depth of this fleeting association, there is a sense that the one night the couple spends together has brought officer 223 out of his self-perpetuating despondency and helped him in some way to overcome his loss.
The second story focuses on the frequently visited Midnight Express food stall introduced in the former narrative and tells the tale of police officer 633 who has recently been dumped by his air-hostess girlfriend. Although appearing seemingly detached, officer 633 – played by Tony Leung – struggles to repress the painful memories which persistently resurface as flashbacks brought on by commonplace household items. Faye, the young and quirky waitress at the food stall, falls in love with the reserved police officer and when she accidently finds herself in possession of a set of keys to his house, the two become inexplicably entangled in a strange and remarkable relationship.
However, these two tales only serve as a vehicle to understanding the overarching themes. Essentially Chungking Express is an exploration into mankind’s inability to face up to the impermanence in life. As officer 223 observes, ‘everything comes with an expiry date. Swordfish expires. Meat expires. Even cling film expires’ and each character has their own coping mechanisms in dealing with this harsh reality. The characters create fantasy worlds in which they subsequently indulge in order to escape their discontent and loneliness. Yet this only serves to highlight their own isolation as they drift about dreamlike and listless in their day-to-day lives. What is highly commendable in this film is how Wong manages to delve deep into the personal psyche of each the characters, yet refrains from making the film excessively dense. Through a scattering of endearingly comic scenes and a clever use of soundtrack, Chungking Express manages to remain up-beat despite its profound undertones.
The exceptional camerawork – mostly using handheld cameras – gives the film a splash of colour and energy that is like no other. Yet the film's artistic style does not detract from its accessibility nor does it verge – which is so often the case – on the pretentious.The script and acting lend this impressionistic piece a touch of humanity and prevent it from feeling overtly abstract.
Nevertheless, it must be noted that the plot is not of immediate importance and this may frustrate some viewers. The open-endedness of Wong’s film could be perceived as confusing rather than challenging and its dreamy air might be construed as detached. Ultimately, Chungking Express is a film that should not be tracked along the lines of its plot. However, watched as a stylistic work of art, the film is guaranteed not only to be enchanting, but both funny and touching as well.
The exceptional camerawork – mostly using handheld cameras – gives the film a splash of colour and energy that is like no other. Yet the film's artistic style does not detract from its accessibility nor does it verge – which is so often the case – on the pretentious.The script and acting lend this impressionistic piece a touch of humanity and prevent it from feeling overtly abstract.
Nevertheless, it must be noted that the plot is not of immediate importance and this may frustrate some viewers. The open-endedness of Wong’s film could be perceived as confusing rather than challenging and its dreamy air might be construed as detached. Ultimately, Chungking Express is a film that should not be tracked along the lines of its plot. However, watched as a stylistic work of art, the film is guaranteed not only to be enchanting, but both funny and touching as well.
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