HONG KONG AUTEUR WONG KAR-WAI

Lolace24 · Joined: 29 Sep 2007

HONG KONG AUTEUR WONG KAR-WAI Essay Question: What is the specialty of Wong Kar-wai and his auteur films? How can we assess his films? INTRODUCTION Wong Kar-wai, a Hong Kong film auteur, has an exceptional style in that he creates highly individual art films in a very commercial market. His working style is so freshly innovative that in Ashes of Time every actor received their own scripts a few hours before each dayЎЇs filming. In Fallen Angels, for example, Takeshi Kaneshiro had to massage a pigЎЇs carcass without knowing why whilst playing this difficult role (Hansen, 2000, p.44). Likewise, Guan Shuyi spent several arduous months in Buenos Aires playing the leading actress in Happy Together, but unfortunately this talented leading actress existed only in WongЎЇs mind ЁC every scene of hers were subsequently cut, and she does not appear even for one second in the final version of the film. Despite that, there are still many Hong Kong superstars lining up to play even limited roles in WongЎЇs films, partly because playing in his films often leads to the opportunity to be nominated for awards. Following his second film, Days of Being Wild (1991), all of his later films, Ashes of Time (1994), Chungking Express (1994), Fallen Angels (1995), Happy Together (1997), and In the Mood for Love (2000) were collectively appreciated by critics at film festivals in Hong Kong, Taiwan, even Europe, and have won numerous awards and brought fame to the Hong Kong film industry, although the majority of them actually failed at the box office and did not even recover the initial investment. His works are regarded by some film critics as having links with realism, postmodernism, stream of consciousness or constructivism and at the same time are collected and admired by enthusiastic fans. Professional filmmakersЎЇ may say that his films are full of some very strange and innovative skills, such as MTV camera style and continuously shaking images. Truly representing the pinnacle of Hong Kong film, recently his most famous film ЁC Days of Being Wild, together with nine other very famous Chinese films such as Xiao Cheng Zhi Chun and Yellow Earth, were chosen among the Ten Best Films in Chinese history by the Hong Kong Film Critique Committee (Zhong, nd.). Few Hong Kong film directors have achieved such high acclaim as he does. In this case, Wong has created his own special brand of Chinese art film. What makes a Wong Kar-wai film so Wong Kar-wai? How did Wong Kar-wai become Wong Kar-wai? What is the significance of Wong Kar-wai? These are all the questions discussed in this article. The first section introduces the Hong Kong new wave of the early 1980s, which appeared just before WongЎЇs career in directing and had an important influence on WongЎЇs works. Then the major film-making skills, which are widely used in WongЎЇs films and continue to surprise his fans, are examined, to show their special functions in the films. The third section discovers the inner world of WongЎЇs films and explains what make them so outstanding and what he is really trying to express. Finally, a few arguments for and against his controversial films are presented, along with the discussion why WongЎЇs films are appreciated by some but attacked by others. And Wong Kar-waiЎЇs contributions are explored as well by the end of the last section. HONG KONG NEW WAVE Wong Kar-wai was born in Shanghai in 1958 and moved to Hong Kong with his family at the age of five. When he graduated in graphic design from Hong Kong Polytechnic and began his drama and film career in the early 1980s, the rise of the Hong Kong new wave was ushering in a new age of film making. Prior to the appearance of the new wave, as with the films in mainland China and Taiwan, Hong Kong films were deeply influenced by the traditional Chinese feature films based in Shanghai that had been prevalent since the Second World War. The new Hong Kong directors faced the same problem as their counterparts in China mainland and Taiwan, which was how to instigate a break with tradition (Li, 1994, p.160). However, different from mainland and Taiwan, Hong Kong film directors had a different problem to face, in how to assert themselves individually despite the impact from both the British colony culture and the larger family of Chinese cinema, and to make Hong Kong films (mostly Cantonese cinema) individually represent the Cantonese culture (ibid., p.161). Growing up in a Hong Kong style education, most of the new Hong Kong directors had undergone vocational training in film schools in the West and had the opportunity to display their talents in television before they entered the film industry (ibid., p.160). They could view problems or societal issues from the Hong Kong perspective, but also through a more international expression. Their representatives were Ann Hui (Boat People and Love in a Fallen City), Allen Fong (Father and Son), Tsui Hark (Dangerous Encounter), Yim Ho (Homecoming) and Johnny Mak (Long Arm of the Law). These films seek a balance between commercial success and art innovation. The use of new film structure and skills strongly impacted on the Hong Kong film industry; their film features were accepted by both critics and ordinary audiences well. However, this new wave did not last long. By the middle of 1980s, many of the new wave directors surrendered to commercial pressure and turned to making films wholly catering to the box office crowd. At that time, Wong Kar-wai had just left TV and entered the film industry as a script writer. He must have been aware of these new wave directorsЎЇ hesitations between commercial genre films and their own creative aspirations. Wong says: Ў°the situation [Hong Kong] doesnЎЇt allow you to sit and write about something you really want to write about, and then carry it around trying to sell it.Ў± (Hansen, 2000, p.54) In highly commercial Hong Kong, no film director can ignore the box office, especially new film directors. If they could not make successful films, or at least have their films break even, they would have little chance to continue. However, as a new film director who faced the same problems, Wong Kar-wai persisted in his own sense of what his film is. Inheriting the innovation of the first new wave and abandoning anxiety for quick commercial success, in 1988 when he had a chance to make his debut ЁC As Tears Go By, he began to show his outstanding talent to the world. In fact, there were a number of new directors making their debuts in 1988, all of which exhibited a refreshing new approach in the handling of both subject matter and style (Li, 1994, p.177). Due to their strong impact on the Hong Kong film industry and with obvious similarities to the new wave of the early 1980ЎЇs, they were called the second new wave. Among them, undoubtedly Wong Kar-wai was, and is still the most brilliant star. WONG KAR-WAIЎЇS BRAND WongЎЇs brand in his films is cherished by his fans and they often like to talk about the skills and effects he uses in recent films, rather than the films themselves. Actually WongЎЇs brand forms a system of symbols, which lie in each of his films and makes his films clearly and easily recognized. Character Films and No Scripts No one knows when Wong became a director without traditional scripts; surely he does not aim to attract more fans by choosing this special process. In fact, the difference between Wong and other directors does not lie in his shooting without scripts, but in the fact that his daily script is only finalized just before each dayЎЇs shoot. Wong writes the scripts himself at night, ready for shooting the next day. Such a strong auteur style results from his need for character films. Wong says: Ў°My works tend to become Ў®character filmsЎЇ rather than Ў®story filmsЎЇЎ I could chop those happenings into small pieces, and rearrange them with numerous possibilities.Ў±(Hansen, 2000, pp.43-44) So, he likes to imagine a variety of different outcomes for the next scene in his story and cannot narrow the choice down to only one of them by sacrificing others (Lalanne, 1997, p.11). Only at the last minute in the editing room does he decide which outcome is the most suitable, or which result he likes the best. In this way, making films is just like conducting character experiments. There are at least two advantages of such a working process. First of all, it gives the auteur the most space and freedom to reconsider and determine the work. Facing so many fragments and possibilities, he could choose whatever he likes and add them up to a full set. Moreover, the last result is unpredictable and cannot be known until the last minute. It is just like Ў°the best is in the futureЎ± and makes the audience eagerly anticipative of the formal release of the film. But the disadvantage is also obvious. The cost in time (in shooting and editing) and money (in film materials) requires that the director has total confidence when creating. In highly commercial Hong Kong, few producers or directors can afford to make such films. But Wong Kar-wai can do so, and he succeeds. WongЎЇs working style seems casual and arbitrary, but actually it reflects the directorЎЇs highly serious attitude to his work and responsibility to his audience. Kaleidoscope, MTV and Fine Images The diverse visual effects in WongЎЇs works are another expression of WongЎЇs special brand, which are often talked about by his fans. With the application of the coolest filming skills, WongЎЇs works are often called kaleidoscope and MTV style. Examples are: jump cuts in As Tears Go By and in Ashes of Time; the camera movement and Mise-en-scene in Days of Being Wild; the slow motion and hand-held camera in Chungking Express; extremely wide-angle lens in Fallen Angels; black and white images mixed in Happy Together; and the slowly moving long take in In the Mood for Love. From WongЎЇs explanation, Ў°the not-so-romantic truth is that lots of those effects are in reality results of circumstantial consideration.Ў± (Hansen, 2000, p.55) But these fancy filming skills serve the spirit of films very well. Take Chungking Express for example, in which slow motion is used in many medium shots. The effect is that the main characters (223 or 663) act at the normal speed while the people around them move very fast. The underlying meaning is to describe distance among peopleЎЇs hearts, which looks very close but actually extremely far, although all of them meet thousands of others everyday. Even in some seemingly simple shooting angle, such as some of the still images in Ashes of Time, the audiences can feel the strong inner tension underlying each of these beautiful still images. As the driving force of the second new wave, Wong inherits the innovative spirit of the first new wave meanwhile developing many new dynamic film-making skills. In terms of his working style, the ways to catch image differ, however, the principle of fine images never changes. More and more fine pictures are presented again and again in screen and audiences are often surprised by the Ў®happy togetherЎЇ in which there are changing shooting skills and unchanging delicate beauty simultaneously. Use of Voice-over and the Symbolism of Objects and Numbers Anyone who has seen WongЎЇs films must have been deeply impressed by the long voice-overs (mostly monologues) and relatively short dialogues, many of which are focused around numbers and common objects in normal daily life. For instance, in Chungking Express, Ў°At our most intimate, we were only 0.01 cm apart. 57 hours later, I was in love with this woman.Ў± In Days of Being Wild, Ў°It is the last minute to 3PM of 16th April 1960. I will remember this moment because I stay with you. From now on, we are friends of one minute. You can not change this fact because it has passed.Ў± Such words display WongЎЇs strong individual style and can be found almost in each of WongЎЇs works. Meanwhile, using some common objects to symbolize charactersЎЇ emotion, such as glass in As Tears Go By and pineapple can in Chungking Express, is also WongЎЇs favour. Several factors may explain why Wong likes to use voice-overs so much. First of all, because WongЎЇs movies are made up of pieces, he therefore needs a number of monologues in the changing scenes or connecting pieces, to make his film fluent and integrative. WongЎЇs story is mainly completed in editing room, monologues, therefore, can best suit WongЎЇs changeable mind in postproduction and compensate for his lack of planning in preproduction. Furthermore, many of these monologues are an expression of WongЎЇs philosophy. They help the audience to understand what Wong is trying to express in his movie and invites the audience to think from different charactersЎЇ angles. Lastly and the most importantly, many of these monologues, with numbers and objects, take the characters out of the time when stories happened. They directly show the human psychology under postmodernistic circumstances, which is the actual subject of WongЎЇs work. Music and Repetition of Music Since the birth of phonofilm, music has played an important role. Generally, music serves as a support to the plot or lends atmosphere. Besides these common functions, the different music in WongЎЇs films represents different emotion and the personality of different characters, or the different meanings of different scenes. The most distinctive factor is the repetition of music to create atmosphere. Usually there is always some mainstream music, like Ў®Take My Breath AwayЎЇ in As Tears Go By and Ў®Tian Di Gu Ying Ren Wo XingЎЇ in Ashes of Time, which fits the plot, appearing once and again in order to strike peopleЎЇs heart. In As Tears Go By, the heavy rhythm of Ў®Take My Breath AwayЎЇ shows WahЎЇs anxiety for the deep love and implies the sad result of his love; in Ashes of Time, Ў®Tian Di Gu Ying Ren Wo XingЎЇ and its variations, like Ў®Huan Ying Jiao DieЎЇ, being continuously used, create the upset atmosphere of the killersЎЇ desolate life and suggest their painful emotion when they are rejected or reject others. Apart from the mainstream music, in WongЎЇs works, there is some other music applying to special characters or special places, like Ў®California DreamingЎЇ to Ah Faye (in Chungking Express) and Ў®Quizas Quizas QuizasЎЇ to Su LizhenЎЇs living circumstances (in In the Mood for Love). In the former, Ў®California DreamingЎЇ, we are reminded of Ah FayeЎЇs dream and it indicates her later emotional changes. In the latter, Ў®Quizas Quizas QuizasЎЇ, the repetition of it, sounding with Su LizhenЎЇs slow walking, seems to bring us back to Shanghai in the 1960s, half westernized and half traditional. It is WongЎЇs excellent sense and choice of music that makes the music in his films so distinctive and impressive. BEHIND WONGЎЇS BRAND Ordinary audiences are often fascinated by WongЎЇs kaleidoscopic film skills; while in some otherЎЇs eyes, compared with surface skills, what strikes them more behind the skills, is the themes of human emotion in the postmodern society. Communication and Refusal Wong Kar-wai said: Ў°All my works are about one topic ЁC communications between peopleЎ I want to express a sort of refusal - being afraid of refusal and the response when refused.Ў± (Situ, 1998) In the postmodern society, lack of communication, people hide themselves in their body and express an indifference to everything. However, in their hearts, they are eager to seek an efficient way to make dialogues with others despite of the difficulties. In Chungking Express, 223 keeps asking the Blond-wigged woman the same question in English, Mandarin, Cantonese and Japanese, respectively. In Fallen Angels, the dumb person makes dialogues with others by rubbing shoulders with them ЁC Ў°You rub shoulders with many people everyday. Sometimes it hurts me. Not to worry, I try to stay happy.Ў± But the communication difficulties are always presented as being one sided. Between the two people involved, one of them is always rejecting the other one. When they finally turn around, it is only to see the back of the person concerned retreating into the distance. In In the Mood for Love, Ў°she has kept her head lowered, to give him a chance to come closer. But he could not, for lack of courage. She turns and walks away.Ў± In Chungking Express, when Ah Faye finds she loves 663 and tries approaching him, he is still suffering from his previous girlfriend. When 663 turns around, Ah Faye has gone all the way to California. Just as Ou Yangfeng said in Ashes of Time, Ў°the best way to avoid rejection is to reject others firstЎ±, the contradiction between the desire to communicate and the fear of actually doing so is a part of WongЎЇs description of the contemporary personsЎЇ emotion in a postmodern city like Hong Kong. Rootlessness and Helplessness Ў°By chanceЎ± most of the main characters in WongЎЇs films are all rootless, without identity and living on the edge of society. They either have no regular occupations, like Yuddy (Days of Being Wild), Wah (As Tears Go By), Lai Yin-Fai and Ho Po-Wing (Happy Together), or have special occupations that make their lives very unstable, like hitman (Fallen Angels and Ashes of Time) and cop (Chungking Express). They drift aimlessly in a city of debauchery, often losing themselves. This trait is especially obvious in his works prior to 1997, which partly reflects the uncertainty of emotion among Hong Kong people before it returned to China, as exemplified in his unique work after 1997, In the Mood for Love. In this film his concerns with peopleЎЇs emotion is the same, but the two leading characters are no longer rootless or lonely. Both of them have their respective families and Wong suggests that Hong Kong has been part of the large family of China since 1997. Despite of their rootlessness, however, many of WongЎЇs characters have their own aspirations. The processes of fulfilling their aspirations are often used as the key clue to connect WongЎЇs fragments. In As Tears Go By, Wah wants to stay away from the city and lead a peaceful life with his lover on a small island; in Days of Being Wild, Yuddy was engaged in looking for his birth mother; in Happy Together, Lai Yin-Fai and Ho Po-Wing dreamed of travelling to the big waterfall together. All of these pursuits represent the heartfelt yearnings of these rootless people. But the reality is so ruthless that ЁC WahЎЇs lover never saw his coming back; Yuddy died where his birth mother lived; Lai Yin-fai reached the waterfall but only by himself. In WongЎЇs works, the characters are helpless when faced with the reality. They dreamed, they tried, but in the end, all failed. From WongЎЇs characters, we can see rootlessness, vulnerability, helplessness and loneliness, many of the typical psychological features of postmodernistic urban people. Optimism Here and Now Time is another important factor in WongЎЇs films. Many names of his films are directly associated with time, such as Days of Being Wild and Ashes of Time. Furthermore, in his films, Wong often expresses his concern in the lapse of time and sigh of humanЎЇs short life. In Chungking Express, 223 asked: Ў°Is there anything on the earth which does not expire?Ў± In Days of Being Wild, the story of bird without feet symbolises the helpless short life of rootless people. Although Wong has depicted so many refusals and much desperation in his works, his characters do not completely give up hope in life. On the contrary, they enjoy the limited time that they are alive and the small space in which they stay together, just as Wong said, Ў°all the characters in my work are optimistic.Ў± (Shao, nd.) As a result, in Happy Together, Lai Yin-Fai and Ho Po-Wing dance tango charmingly when Ho is injured, and Lai regards it as his happiest memory although a very short one; in Fallen Angels, He Zhiwu does not care about the hurt at all while rubbing othersЎЇ shoulders ЁC he just wants to stay happy. Not only are WongЎЇs characters mostly optimistic, but Wong himself is optimistic. The evidence is that he often fits some happy tricks into his films. Yuddy still remembers what he had said to Lai Jun until his death in Days of Being Wild; in Chungking Express, 223 receives a Ў°happy birthdayЎ± message from the unknown woman who he stayed with for only one night; Hong Qi leads a happy life with his wife in Ashes of Time. The optimistic characters employ every minute looking for ways to enjoy happiness, and such optimism represents their responses to the desperation in the post modern city. Similarly, the authorЎЇs optimism reflects his romantic hope to change the indifferent social atmosphere, while at the same time realising that this is unrealistic. CONTROVERSIES AND CONTRIBUTIONS Since the beginning of Wong Kar-waiЎЇs directing career in the late 1980s, the controversies around him and his films have never stopped. On the one hand, Wong is criticized by many commercial film-makers, who are divided in two parties. One party, including Wong Jing (a famous commercial film producer in Hong Kong), acknowledges Wong Kar-waiЎЇs high achievement in film-making, but opposes WongЎЇs over expenditure in his art films regardless of commercial demand. A few film-makers in mainland China like Feng Xiaogang, constituting another anti-Wong party, suggest that Wong Kar-waiЎЇs films are very superficial and seriously repetitive. WhatЎЇs more, they think WongЎЇs topics, all concerning the emotions of urban people, are not prevalent and can only be appreciated by those audiences who indulge in self-admiration. On the other hand, many people, especially Hong Kong local film critics, are happy to see that WongЎЇs films originate from Hong Kong and regard his works as the pride of the Hong Kong film industry. Critiques towards Wong Kar-wai say the very opposite. From the commercial film-makersЎЇ perspective, those artistic film-makers are their natural enemies and potential competitors.

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Lolace24 · Joined: 29 Sep 2007

It is not surprising to hear the anti-Wong voice from his commercial counterparts. In the mean time, commercial film makers usually feel inferior when facing art film directors. The attack on WongЎЇs ignorance of the box office might reflect the jealousy of some directors who succeed commercially but fail in film festivals. However, it seems that the reasons for loving Wong Kar-wai and his works are as many as those for hating him. Although his films do not appeal to a large number of audiences, Wong Kar-wai does have quite a few loyal fans, even including some professional critics. Some people like WongЎЇs style of character films; some people are interested in his kaleidoscopic film skills; and others focus more on the rootless and cool leading characters. WhatЎЇs more, there might be some audiences who cannot understand his films but are just attracted by his numerous brilliant awards and want to show their sophisticated tastes similar to the experts. In any case, the videos of each of WongЎЇs films are popular among his fans and their interests in Wong Kar-wai never decrease as time goes by. No matter whether Wong is attacked or praised, no one can deny his positive contributions to the Hong Kong film industry, and even to the whole Chinese film industry. First of all, Wong personifies a monument of Chinese auteur film. Despite a few excellent art films in Chinese history, prior to Wong, few directors could be called auteur, especially in Hong Kong. Normally people regard Hong Kong films as commercial products and genre works. However, with so many films both outstanding in filming skills and narratives, Wong Kar-wai proves that Hong Kong directors are able to make good art and auteur films. Encouraged by his success and influenced by his films, many new Hong Kong directors have made successful auteur films in Hong Kong. For example, famous by his film, Made in Hong Kong, Fruit Chen admits that Chungking Express had an important impact on him when he made Made in Hong Kong. Furthermore, not only have WongЎЇs films gained reputations for the Hong Kong film industry by his awards in a variety of film festivals all over the world, but he shows Hong KongЎЇs charm to the whole world. As is well known, Wong Kar-wai is a very Ў°Hong KongЎ± director. The places where his films were shot might differ, but similarly all of them focus on Hong Kong people and their life situations in a both international and traditional city. Just like Zhang YimouЎЇs interest in northwest China and Hou XiaoxianЎЇs in Taiwan, Wong Kar-waiЎЇs films always tell Hong Kong stories, despite the fact that many Hong Kong local audiences do not appreciate them. It is his films that attract many fans from all over the world to travel to Hong Kong and make Hong Kong more and more well known. CONCLUSION Originating from Hong Kong, Wong Kar-wai is one of a few Chinese film directors who can be called auteur and great master. His innovation in film-making skills, his continuous concern on emotion of postmodern Hong Kong people, and his special story narratives, all make him outstanding in the global film industry. Just as Edward Branigan, an American famous film theoretician, said, Ў°In my point of view, the four greatest film directors in the current world are all from Asia, Hou Xiaoxian in Taiwan, Wong Kar-wai in Hong Kong, Abbs Kiarostami in Iran and Takeshi Kitano in Japan.Ў± (Liu, 2001), as a film auteur, Wong Kar-wai has his place in the film industry and his films are worthy of noticing and studying.

Bibliography

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