Andy Lau is a hood who has no time for life, just brief respites. His last girl friend had her pregnancy terminated before even telling him about it, because he hadn't called in a while. "You could have called me!" he says, but three years with him have yielded her neither money nor marriage. So he gets drunk and comes home to his bare apartment where his distant cousin, Maggie Cheung is staying while doctors run tests to see if she is going to die. Then she turns out to be ok, and goes home, while he stays and deals with the gangs of Hong Kong, particularly his inept "little brother" Jacky Cheung, and the competing gangs, and the ugly messiness that is his life.
Then he shows up at Miss Cheung's. When he has to go back to Hong Kong to deal with Jacky's messes, she says nothing, but calls his phone service and leaves a message. "Come back safely."
Kar-Wai Wong's first feature as a director can be viewed as a gloss on Melville's LE SAMOURAI, but it is not an admiring one. Lau is all professional when dealing in the underworld, but outside of it he needs to be human, wants family and love, things barred to him by his trade. Melville's romantic impulses are based on violence, the thought of the smooth, dangerous man in a beautiful and clean world populated by elegant adults, like a shark swimming through the clean ocean. Wong's world is crowded and garish ad ugly, populated by psychopaths and would-be psychopaths. Wong's sense of beauty lies in the respites, in Miss Cheung's arms, in people who care. I find it far more believable.
Then he shows up at Miss Cheung's. When he has to go back to Hong Kong to deal with Jacky's messes, she says nothing, but calls his phone service and leaves a message. "Come back safely."
Kar-Wai Wong's first feature as a director can be viewed as a gloss on Melville's LE SAMOURAI, but it is not an admiring one. Lau is all professional when dealing in the underworld, but outside of it he needs to be human, wants family and love, things barred to him by his trade. Melville's romantic impulses are based on violence, the thought of the smooth, dangerous man in a beautiful and clean world populated by elegant adults, like a shark swimming through the clean ocean. Wong's world is crowded and garish ad ugly, populated by psychopaths and would-be psychopaths. Wong's sense of beauty lies in the respites, in Miss Cheung's arms, in people who care. I find it far more believable.