June 22, 1997 |
Leslie Cheung, the Hong Kong superstar and pop singer, has never been busier. He has a new film, Chen Kaige's exquisite "Temptress Moon." He is in the midst of a worldwide singing tour marking his return to the concert stage after a seven-year hiatus. And he is reaping building international acclaim for his remarkable acting talent, which spans classic screwball comedy to martial arts fantasies to the epic tragedy of Chen's 1993 "Farewell My Concubine."
January 7, 2005 |
The opening scenes of Wong Kar-Wai's 1991 "Days of Being Wild" feature the unnervingly handsome and conceited Yuddy, played by Leslie Cheung, as an insistent suitor to Su Lizhen, Maggie Cheung's apprehensive snack bar clerk. He gradually wears her down, warning that the moment she gives in -- 3 p.m., June 16, 1960, to be exact -- will forever be etched in their memories. It certainly will remain in ours.
January 31, 1993
I would agree with Dacy up to a point, that it's the star performances that make Hong Kong films popular. But who creates many of those star performances? Until he was cast in a John Woo film, Chow Yun-Fat's "undeniable personal charisma" didn't find much of an audience. Woo's ability to bring out the best in actors and to give them a previously unimaginable weight and depth has in the past revived the failing career of Ti Lung, made a serious actor of pop star Leslie Cheung and made Chow Yun-Fat a mega-star in Asia.
April 9, 1995 |
This energetic 1986 Hong Kong production is vintage John Woo, in which the celebrated writer-director has struck a perfect balance between emotion and highly styled violence. Its story involves two brothers--one a gangster (Ti Lung, left), the other a cop ("Farewell, My Concubine's" Leslie Cheung, right). The central figure, however, is the older's brother's former partner in crime (the charismatic Chow Yun-Fat), now destitute and crippled.
April 5, 1996 |
Wong Kar-Wai's 1991 "Days of Being Wild" offers the flip side of his dazzling "Chung-king Express." Like the latter film, it is a romantic fable of the vicissitudes of love and the role fate plays in our lives, expressed with a bravura, go-for-broke style, but it is as dark and sober as "Chung-king" is bright and amusing. Imagine, if you will, a Hong Kong movie without so much as a single neon sign in view; it's a film seen in shadows.
October 31, 1997 |
The title of Wong Kar-Wai's wrenching, jagged "Happy Together," taken from the popular song, is decidedly ironic. Shot alternately in high-contrast black and white and rich color, it has a harsh charcoal-sketch look in either mode as it charts the coming apart of a gay love affair. Photographed by Wong's usual collaborator, the award-winning Christopher Doyle, "Happy Together" is as fragmented in style as the relationship it depicts with relentless emotional honesty.