The second character in the film, a night patrolling officer, Chow played by Tony Leung has very brief screen time, but it instills a long association of Kar Wai with Tony who stars in almost all Kar Wai’s films. Yuddy’s character is portrayed of Youth Aggressiveness, confusion, regret, and loneliness, which ends in the loss of his own Youth, that’s what the name of the film suggests, days, or a story about the wilderness of youth, which we lost in time. The question makes him fly again with a burden of regrets, fear of being lost, and a really indescribable loss of identity, resulting in death, finally. The longing for the last lost love makes him question whether the one he let go was actually the one who mattered. Yuddy’s character is like that flightless bird that flies from one form of love to another, indecisively believing that the one he has a hold on will give rest to his wings. The bird only lands once in its life… that’s when it dies.” Yuddy has been lonely, all his childhood and now he is afraid to be with someone else.Īs Yuddy quotes,” I’ve heard that there’s a kind of bird without legs that can only fly and fly, and sleep in the wind when it is tired. The film explores Yuddy’s nature in a way that he had a traumatic Childhood, void of any parental love, as his mother left him in a brothel. Yuddy is set out to break another girl’s heart and justifies his nature of being a playboy. His first lover in the film is Li-Zhen, who suffers emotional and mental disturbance as a result of Yuddy’s behavior.
That’s how Days of Being Wild starts, with the main character, Yuddy, who is a young playboy in Hong Kong and is well known for stealing girls’ hearts and breaking them. That’s the state, particularly with all his characters in his films, in short, They are Lonely.
Kar wai’s film portrays a persistent theme of time, longing, dislocation, and the restless search for human connection by its characters, like Tony Leung’s character in his Kar Wai’s “ In The Mood of Love” insists an extramarital affair because he feels lonely in his own marriage. The Belcourt Theatre does not provide advisories about subject matter or potential triggering content, as sensitivities vary from person to person.īeyond the synopses, trailers and review links on our website, other sources of information about content and age-appropriateness for specific films can be found on Common Sense Media, IMDband as well as through general internet searches.In Kar Wai’s cinematic world, the characters are consistently pursuing a journey “ to be loved” as we all are in our lives, wishing to be loved intensely and passionately. No other director since the (distant) heyday of Alain Resnais has been so attuned to the effects of time on memory, sensation and emotion.” - Tony Rayns, BFI “…A supreme visual stylist but also a poet of the kinds of love that tear people apart and just occasionally bring them back together again…. “Ultimately feels more sweet than bitter, defined by a tone of long-shot hopefulness and a sense that maybe it might all work out for those heartbroken young people…as they watch the first acts of their youth draw to a close.” - Keith Phipps, The Dissolve It also marked a turning point in his work, a shift in direction that is actually signaled within the film, when the desultory underworld revenge narrative fades away and is replaced by a love story as simple as it is delirious.” - Amy Taubin, Criterion CHUNGKING EXPRESS established Wong’s reputation as a major auteur, the most glamorous and enigmatic since Godard. It was supervised and approved by Wong Kar Wai. This 4K digital restoration was undertaken from the 35mm original camera negative by the Criterion Collection in collaboration with L’Immagine Ritrovata and Jet Tone. Anything goes in Wong’s gloriously shot and utterly unexpected charmer, which cemented the sex appeal of its gorgeous stars and forever turned canned pineapple and the Mamas and the Papas’ “California Dreamin’” into tokens of romantic longing. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung), both jilted by ex-lovers, cross paths at the Midnight Express take-out restaurant stand, where the ethereal pixie waitress Faye (Faye Wong) works. The whiplash, double-pronged CHUNGKING EXPRESS is one of the defining works of ‘90s cinema and the film that made Hong Kong filmmaker Wong Kar Wai an instant icon.