‘Days of Being Wild’ and Hong Kong’s New Wave

Leslie Cheung and Maggie Maggie Cheung in ‘Days of Being Wild’

Hong Kong was the Hollywood of East Asia through the sixties and seventies, cranking out romances, melodramas, costume pictures, and especially martial arts action films. In the 1980s, the familiar style got an adrenaline boost when Tsui Hark returned from American film school with new ideas on moviemaking, and other young directors eager to make their mark in the movies. But where directors like John Woo (The Killers), Corey Yuen (Saviour of the Soul), and Ringo Lam (Full Contact) were reinventing action movies and big screen spectacle with whooshing camerawork, dynamic editing, and action exploding all over the frame, Wong Kar-wai was casting the stars of those films in more intimate and impressionistic films. His debut film As Tears Go By(1988) turned the “heroic bloodshed” genre of Triad gangster movies into a young adult melodrama. Days of Being Wild (1990), his second feature and his first collaboration with his signature cinematographer Christopher Doyle, was Wong’s first masterpiece.

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Author: seanax

I write the weekly newspaper column Stream On Demand and the companion website (www.streamondemandathome.com). I'm a contributing writer for Turner Classic Movies Online, Keyframe, Independent Lens, and Cinephiled, and the editor of Parallax View (www.parallax-view.org).. I've written for The Seattle Post-Intelligencer, The Seattle Weekly, GreenCine.com, Senses of Cinema, Asian Cult Cinema, and Psychotronic Video, among other publications, and I am a contributing editor to Parallax View. I currently live and work in Seattle, Washington, with my two cats, Hammet and Chandler.

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