As he mopes around, devouring cans of pineapple and calling up old flames, destiny leads him to cross paths with a coldhearted drug dealer (Lin) in a blond wig and designer shades. Effect is a little like watching an early Godard movie set in contempo Hong Kong, though with a technical slickness from employing two megastars (Brigitte Lin Ching-hsia, Tony Leung Chiu-wai) and top technicians (lenser Christopher Doyle, production designer William Chang).įirst story (42 minutes), set around the labyrinthine tenement building Chung King House in downtown Kowloon, spins on a romantic young cop ( Takeshi Kaneshiro), recently ditched by his g.f. With its plentiful use of hand-held camera, fast-cutting, and collage-like approach to storytelling, “Wild” has a fresh, risk-taking feel very different from the rigorous “Days,” even though its romantic undercurrent and quartet of urban dreamers are not far removed from the earlier pic. Wong made the moderately budgeted, HK$15m ($2 million) movie in only three months, between the end of shooting and start of post-production on his mammoth martial arts costumer “Ashes of Time,” already two years in the works. Hip pic, drenched in neo-’60s nostalgia, should delight cinephiles and prove an intriguing addition to the fest repertoire, though its appeal may prove too specialized for broad sales. Four years after his cult classic “Days of Being Wild,” Hong Kong maverick stylist Wong Kar-wai trampolines back with “Chung King Express,” a quicksilver magical mystery tour through the lives of a bunch of young downtown loners.
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