wongkarwai.net

No offense, Happy Together fans. Many people regarded this film as the best wkw film ever. Can someone explain to me why this film was that great? I admit it's got unique cinematography and a great soundtrack, but when it comes to the story, it just left me cold and felt non engaging. Leslie Cheung played a fantastic queer lover because he was one in real life, and Tony Lenug's performance felt forced, not natural, not as good as his character in In The Mood For Love. So what's so good about this film anyway?

i don't know if i consider it my favorite, but one of the things i really like about it is that it seems like the perfect combination of both wong kar wai's powers and christopher doyle's powers. more than any other of his films, i think this is the one that shows the partnership the best.

there are other things too, but that's all i'll say about it for now.

i didn't feel tony's performance was forced. i adored this film because of how RAW it was... how abrasive... even in the way that Tony treats Leslie... I don't know if it comes across to non-Cantonese speakers... but his delivery is really dead on. Shitty attitude and completely annoyed. Swan song of a relationship. I KNOW that tone. I've used it.

i liked how wkw took these risks... not just in the subject, but in how it was shot. completely out of the world for HK cinema in those days. and it worked for me. in the bus, in the car, in the bar... these moments are magical.

i agree w/ blur on the partnership bit.

i don't think i've seen this as much as i've seen other wkw films... but i've still seen it over 5 times. hahaha... and it is easily the one i respect the most.

also, wong kar wai's reasoning for making this film, as explained in buenos aries zero degree, is wonderful.

he wanted to make a film on the exact opposite side of the world about something that he knew nothing about.

i think the editing in this film is probably the best of any of his films. it's so rhythmic and in tune with the film.

and the closing sequence is exhilirating and for me, a bit sad. most people think of it as a bit of a happy ending though.

all this being said, happy together is probably my 3rd favorite wkw? not sure though, it's a bit like picking your favorite kid.

I felt the ending sequence was sad too, the way the character came to except his unreciprocated love, a metaphore for the lonely journey of the human spirit. I thought HT's ending was perfect in so many ways.

Happy Together was a WKW film I put off watching for a very long time I'm ashamed to say, I just felt I would not relate to the subject matter (being a hetrosexual guy). When I watched the film with an open mind, I found that the power of the film, the atmosphere of Buenos Aires, the tempestuous emotions, everything about the film transcends its subject matter. Now HT is one of my favourite WKW films - definately in my top 3!

Just out of interest, does anyone know if HT is the first film to be shot in large segments of both black & white and colour?

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~ The loneliness of urban landscapes ~

do you mean ever?

because tokyo drifter and wizard of oz come to mind.

I mean the first film to have a substantial amount of the film shot in B&W, and the rest in colour (or vice versa). It probably wasn't the first, just none spring to mind. I've not seen Tokyo Drifter, but which parts of the Wizard of Oz was shot in B&W? Haven't seen it for donkeys years.

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~ The loneliness of urban landscapes ~

the beginning and the end are in b&w for wizard of oz.

on a side note though, i don't know really how relevant the thematic element of switching to color is in a sense, since wkw has explained that he did it purely for practical reasons.

Another film that uses both black and white and colour is Pleasantville. Colour for the present and black and white for the fifties...

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You know how to whistle, don't you, Steve? You just put your lips together and... blow.

yeah, but post happy together though.

If you have time, read this.


http://www.ejumpcut.org/archive/jc44.20 ... rwei5.html

not on topic...but seeing as you're resourceful... theShape, do you happen to have a Sight and Sound article on WKW from about 1998-2000 time period? it concentrated a lot on fallen angels, but dabbled on wkw in general... calling him the first post-mtv director...compared him w/ godard, kurosawa... i had it in my school account which has long been cancelled and i can't find it in any archives of Sight and Sound either..

Nope, sorry. But I'd like to read that though.

this is my favorite wkw film, and id probably rank it as his second best film behind itmfl

and like it has been said here already, wkw's direction is superb. he deserved the award he got in cannes for this (and shouldve gotten the big prize) and i think its actually his best directorial effort to date.

of all his films, i think this is his most cinematic. this has the least chance of ever being made into a novel, play, poem, etc. successfully. not that his other films are likely candidates for such events, but this one least of all.

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manny to oscar: "you're still my idol."
oscar to manny: "no, you're my idol."
12-6-2008

it's my fave as well- i don't even want to analyze why. it just clicks.
tony no good in this one? my friend you just lost all your credibility on this board