Wong Gok ka moon

Kar-Wai's first film is more in line with the cinematography of other late 80's Hong Kong movies rather than his renown obscure style, seen later on in films like Chungking Express or In the Mood For Love. The characters are also normal in comparison to his later films too, as they take on archetypes seen in many Triad flicks from this era. The writing is classic Wong Kar-Wai however, and what he does with the characters is more interesting then their personalities themselves. In other words their actions speak volumes louder than their dialogue. Andy Lau plays a low-level Triad thug who in hopes of climbing the underworld's ranks becomes held down by his younger brother played by Jacky Cheung. The pair work well together and you begin to like the dynamic bond between them. Trouble ensues between the pair and their gang, and many hard decisions await Andy Lau as he tries to straighten out both his reckless brother and forbidden romance on the side. The ending has a real impact and Wong Kar-Wai's direction is responsible for such a memorable story. Although it feels Kar-Wai wasn't fully at the reigns of this one with some mediocre moments, overall his efforts can be felt wholeheartedly and the passion shines through to deliver a good experience. -7/10

Wong Kar-Wai's feature debut is essential viewing for anyone who's been beguiled by his more recent work, but it is really just a slightly more existential take on the standard HK gangster pic. It has more commercial considerations, less emotional complexity (or navel-gazing, if you side with Jackie Chan, who called him "the most boring film-maker on the planet")* than 'Fallen Angels' or 'In the mood for love', but there's much to admire in his idiosyncratic digressions from generic conventions. Maggie Cheung, surely one of HK's finest actresses, but so rarely allowed to prove it, is slightly wasted here. Her performance is pleasingly internal and understated, far-removed from the pseudo-comic mugging she made to enact in the Police Story movies which made her famous, but her character is really just the pining girlfriend, an iconic figure of a better future. I can fully accept Cheung as the embodiment of all that is feminine and comforting in the world, but her role is a slight disappointment given the screen-melting roles Wong handed to Brigitte Lin, Faye Wong, Karen Mok and Cheung herself in later films. And, by the way, this is very violent.

* Jackie Chan also said that Amy Yip was the ugliest woman in the world and that ladies shouldn't fight in movies.

Wong Kar Wai's debut effort as a feature film director already showcase flashes of talent from the would-be auteur. ALthough not as groundbreaking or innovative as some of his better known films (eg. Chungking Express/ Fallen Angels), nevertheless it displayed some of his distinct signature styles, (eg. naturalistic & idiosyncratic dialogue, character driven films) and themes(eg. love,urban environment, world in turmoil and chaos)

Obviously inspired by Martin Scorsese's early effort 'Mean Streets', which was in turn partly inspired by 'beat' filmmaker John Cassevetes debut film 'Shadows'; 'As Tears Go by' is 'Mean streets' set in Hong Kong. The harsh depiction of traid and street gang culture is in sharp contrast to the stylish gun-totting hoods from John Woo's 'A Better Tomorrow'. In many ways, Wong's depiction came accross as more bittingly realistic, helped by its many on-location filming (another WKW style). Hong Kong's neon lit streets/dark dingy alleys/fluorescence interiors/late night piers, blended in perfectly with Wong's story set in contemporary urban HK. Very interesting camera work and lighting that is different from the other HK films coming out from that era. It displayed an early WKW visual flare, again evident in Chunking Express and Fallen Angels, which utilizes similar locations and settings, as well as ferentic camera movements and stylised composition. Credit should be due to art director Chang Shu Ping, who collaborated with Wong in all of his subsequent films. Of note too is cinematographer Andrew Lau, who will go on to helm the 'Young & Dangerous' series that bears several visual & subject matter influences from this film.Though I must add that Young & Dangerous portrayal of heroic gansters is more glorifying than Wong's pathetic bloodied characters.

Excellant performances from all three leads, which bagged Jacky CHeung(doing a Robert de niro) the best supporting actor and Andy Lau a nomination for best actor at that year's HK film awards. Maggie Chueng claimed that this was the first time she discovered the true potential of screen acting. Also unforgettable is Alex Man's supporting turn as the most sadistic villian imaginable.

'As Tears go By' is probably the only WKW film that is fully scripted (WOng served as a scriptwriter in other generic HK movies for several years before this effort), and it shows. Some clever and subtle original touches in the first act, that translates Scorsese's tortured characters and ethnic Itlian dispora to local HK flavor and motivations. However, the conflict dragged on by the second act, and the film seems indecisive as whether to focus on the Andy Lau/Maggie Cheung love story arc or on his dillema with his understudy pal Jacky Cheung and their conflict with bad ass Alex Man. Scorsese's 'Mean Streets' works because it manages to stay focus on the main protaganist POV and motivations. The whole film is centered around Harvey Keitel's character, and the other characters serves as his burden to his climb up the mafia ranks. That direction seems lost in Wong's version. The last act/conclusion seems rushed, cliche and definitely predictable. What I suspect, and logically seems plausible, is the interference of the producers and financiers on 'As Tears go by'. WOng had claimed in interviews that his early work was being hampered in many ways by others, hence his firm decision and insistence to be the producer in all his subsequent films. He wants to and achieves total artistic control over all of his later films.

Nevertheless, 'As Tears Go by' is without a doubt a milestone of WOng's career as well as Hong Kong cinema. The visceral on-screen violence, realistc seedy portrayal of HK's underworld and streets locale, and cosmopolitan loves and relationships was never before seen on HK screens during its day. It is preceded only by John Woo's 'A Better Tomorrow', which in many ways is a different kind of film with very different themes. Definitely worth catching for fans of Wong Kar Wai and those who love Hong Kong cinema.

7/10 from me.

I'm by no means a Kar Wai Wong aficionado; I've only seen 2 of his films (this and his follow-up feature "Days of Being Wild"). But from what I've seen, this is the best place to start.

Kar Wai Wong films are very artistic, and from a technical perspective they are downright miraculous. However, as is the case with many artistic directors, an over emphasis on art can result in losing the audience. After all, not everyone is able to grasp the totality of a film in just 90 minutes. That said, if I had started with "Days of Being Wild" or even one of his more abstract creations I may have been lost.

"As Tears Go By" is an excellent way to dip your toes in the pool. While it is rich with visual poetry, it is not so complex that it loses its audience. It has a linear story which uses explosive scenes of violence to keep us awake, and at the same time there is a gentle & poetic undercurrent. The story is about a young man who is involved in the criminal underworld, and his life is torn between 3 elements: duty to his bosses, loyalty to his friend, and a hope for love with a mysterious girl who drifts into his life.

It is an age-old theme, but it's always worth exploring because it cuts to the heart of who we are as humans. Within this story are powerful doses of rage, humility, fear and hope. What may separate this film from others is the way the main character wants to do the right thing. Sure, he's a tough guy, but he's not beyond rationality and knowing when to get the heck outta dodge. The question is, will life/fate allow him to do the right thing?

Although I feel that Kar Wai Wong's "Days of Being Wild" is a superior cinematic achievement, I think "As Tears Go By" has a more direct connection with the audience simply because the main character is very human and likable. Also his sidekick "Fly" is very funny. Good humor is rare in a lot of art films, but it's not lacking here.

I would compare "As Tears Go By" to another excellent film, Michael Mann's "Heat" with Robert De Niro playing the thief torn by the same 3 elements: duty, friends and love. Another good one is the Chinese film "The Drummer" about a gangster's son torn by which path to take: his father's (violent) or his sister's (caring). To me, the best in the genre is Takeshi Kitano's "Hana-Bi" (Fireworks) which really shows the bipolar life of a violent man who is deeply in love with his wife. If you liked any of these films, I think you'll enjoy "As Tears Go By". Similarly, if you like ATGB, check out the others I mentioned.

No better one day film school can be found in watching "Mean Streets" and then this.

Superficially they seem the same and Kar-Wai has told us that he patterned this, his first feature after Scorsese's first.

Here's the lesson: Scorsese belongs to a school of thinking where actors create characters, real extreme and powerful characters. These characters literally create the situations around them. The filmmaker's job is to attach the camera to the characters. Nearly all Italian and Italian-American filmmakers believe this. This is fine if you can live on espresso, but most of us in a film life need something to sustain us.

Kar-Wai in his later films is clearly in another camp. He literally starts with no script. He creates a cinematic tone. Into that tone is spun a place and his actors are expected to find their way within it. Only then do we see characters, and the camera is never, ever glued to personalities.

It is a world of difference, as different as people who can talk only about other people contrasted to those who can create another world in a conversation.

Sooner or later, all lucid watchers must make a choice about how big their film universe can be. This was Kar-Wai's beginning. It is hard to see unless you know his later stuff. But it is there, like the pollen in the air.

Ted's Evaluation -- 3 of 3: Worth watching.