Chungking Express: Electric Youth

In Asia, the film didn’t disappoint, sweeping the Hong Kong Film Awards and doing well at the box office. In the United States, how­ever, the turnout was disappointing, perhaps because Miramax, which distributed Chungking Express as a presentation by Quentin Tarantino’s Rolling Thunder company, was perplexed about whether to market it as an art film or an Asian exploitation flick. Nevertheless, the combination of filmmaking pyrotechnics and wistful romance proved irresistible to cinephiles. Chungking Express established Wong’s repu­tation as a major auteur, the most glamorous and enigmatic since Godard. 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. Writing in 1966 about Masculin féminin, Pauline Kael observed that “Godard has liberated his feeling for modern youth from the American gangster-movie framework which limited his expressiveness and his relevance to the non-movie-centered world.” Wong makes the same move in Chungking Express, underlining the separation by placing it midway through the film.

The narrative of Chungking Express comprises two separate and distinct stories. Although they are thematically related, each has its own central characters and locations. (If you look sharply, however, you can catch glimpses of characters from the second part in a few shots in the first.) The first story harks back to the genre action elements of Wong’s first feature, As Tears Go By (1988), while the second section prefigures the romantic yearnings of his later films Happy Together (1997), In the Mood for Love (2000), and 2046 (2004). Ashes of Time, which Wong finally completed shortly after Chungking Express, is also a genre action picture but teeters on the brink of abstraction. (In the revised 2008 version, Ashes of Time Redux, Wong removes some of the stylistic links to genre, making the narrative even more abstract.) And Fallen Angels (1995), which Wong conceived as the third section of Chungking Express but spun off as a separate feature, is a hyperbolic amalgam of gangster violence and mad love, as ungeneric a noir as could be imagined, and not only because the frequent fish-eye-lensed close-ups turn its cast of beauties, male and female, into a bunch of banana noses. Wong’s reputation as an art-house director rests with the three later, increasingly operatic romances—Happy Together, In the Mood for Love, and 2046—in part because genre films have never been fully accepted within the art-film canon, and in part because Wong’s mastery of sensuous polyrhythms and lush visual and aural textures was not as fully developed in the earlier films.

Minimally plotted, each section of Chungking Express focuses on a lovesick cop who pines for his ex-girlfriend until another woman captures his attention. One might venture that the first section, which opens with one of Wong’s signature step-printed chase sequences, this one through the teeming corridors and blind alleys of Chungking Mansions—a warren of flophouses, cut-rate shops, and import-export “businesses” that is a haven to criminals and the poor of all nations—is something of a blind alley itself, one which Wong drops after less than forty minutes in favor of a more promising romantic situation. It’s as if the film itself is looking for love in the same way that its characters are—by trial and error. The protagonist of the first section is a plainclothes cop, officer no. 223 (Kaneshiro), who is seen running hard in that opening chase scene and in another, shorter chase where he makes a collar, pretty much the only exercise of his profession in the film. Mostly what no. 223 does is obsess about his girlfriend, May, who jilted him on April Fools’ Day. No. 223 has given May until May 1, his twenty-fifth birthday, to come back to him. He marks the days of this countdown by buying cans of pineapple (“May loves pineapple,” he tells us in voice-over), each dated to expire on May 1. If she doesn’t call him on his birthday, the relation­ship will expire as well. It is doubtful that May (whom we never see in the film) knows or, if she did, would care at all about this ultimatum.

But like objects in a dream, the pineapple cans, and their looming sell-by date, condense multiple meanings and associations. May was no. 223’s number-one girlfriend, but he must let go of his love for her (“When did everything start having an expiration date?” he muses) in order to move on to the next stage of his life, a transition marked by his birthday. Then there is the canned pineapple itself, whose mass-produced sweetness is as cloying as the puppy love no. 223 feels. In fact, with May 1 only hours away, he tries to feed some of the syrupy stuff to his dog, who, like May, manifests no interest in such an absurd ritual of devotion. But no. 223’s eating orgy—he downs all thirty cans—transfers his heartache to his tummy, so that in puking up the pineapple he is relieved of the past and immediately fancies himself in love with the next woman he meets.

Hovering over the web of associations that defines the psyche of no. 223 is another countdown: in 1994, the handover of Hong Kong to China was only three years away. Comic anxiety about sex and romance is a front for the deeper fear that political freedom­—an entire way of life—has an expiration date in the near future. The most striking difference between Masculin féminin and Chungking Express is the constant political activity and chatter in the former and its total absence in the latter. While this difference reflects a change in youth culture from the 1960s to the 1990s, it doesn’t mean that Wong is an apolitical director. Rather, like Eastern European filmmakers of the Soviet era or, more to the point, like some of his Chinese mainland contemporaries, he smuggles politics1 intough metaphor. Thus thing of the expiration date of canned goods.