Fallen Angels

I love Chungking Express, and its "predecessor" Fallen Angels is okay, kind of like the prelude to Chungking Express. The night shots draw you into Hong Kong in a way the tourism promos don't for sure. You see Fallen Angels for the experience.

Wow. Fallen Angels really surprised me. I rarely read reviews or synopses of movies before viewing. So, I expected to see classic Hong Kong shoot 'em up gangsta film. Instead, I was intrigued and stunned by this incredible movie.

The characters are the focus as they each tell their stories. Literally, the title "Fallen Angels" gives you an idea of their plight. The film doesn't glorify the criminal lifestyle and shows aspects like isolation and loneliness. It's funny how the killer even tries to imagine how happy he'd be trying to live a "normal" life working a 9 to 5. Unfortunately, life's placed him in his predicament and must deal with the ramifications of it. Add to it his agent (played by knockout Michelle Reis) who is really enigmatic in this one. Her scene at the jukebox is one that displays the pain, agony, and confusion that she is going through. Plus, that song is like joy and torture for her at the same time!

Then, there is He. A man of few words who's story may be one of the most moving. Who could've thought a video could be so powerful and sentimental? This may be one of the most strangest, complex, yet fascinating characters I've ever onscreen. His silent nature, line of work (which is the oddest form of coercion I've ever seen!), and his struggles are really played well by Takeshi Kaneshiro, especially his scenes with his dad.

Wong Kar Wai's direction really makes the film. I really loved the dark, trippy music soundtrack which helped glaze on a slick, surreal coating. It sounds like something that would've been produced by Tricky, Massive Attack, or Portishead. While this may not have a bloody, high body count, the story told here makes this such a worthwhile movie and can be appreciated after repeated viewings.

The following was excerpted from a wonderful essay by Momus, and nicely highlights the themes that this film is all about (which are totally missed by the complainers here who called it boring).

"Isolated, impulsive heroes, nocturnal locations, cool music... a violent world in which sensitive people nevertheless continue to dream romantic dreams indifferent to the surrounding carnage.

In 'Fallen Angels' this happens quite literally: Agent girl Michelle Reis moons and munches dreamily in the wideangle foreground while in the background a triad fight happens in slow motion.

It's the Walkman syndrome, a thing you notice when you visit the orient. The bigger the population, the more busy the city, the more people develop the ability to retreat into an inner isolation, the space of a snackbar, a tatami mat, a computer screen, a song playing on headphones.

In the next century we will all live like this.

Wong Kar Wei maps out a perfectly postmodern, perfectly oriental psychogeography of small, busy places which nevertheless become the spawning ground of ultra-private obsessions and infatuations. Love in his films is more likely to be expressed by someone breaking into your apartment and tidying it, or by masturbation, than a healthy clinch. It is the mindset of ultrafetish, and cinematographer Chris Doyle puts it into images: a clear plastic sheath worn over a Chinese silk dress, a mute riding the corpse of a pig in an abattoir, a blow up sex doll with its head stuck in an elevator door, being kicked insanely by a couple of ultra-romantic maniacs.

And there is the real star, the traum-city itself. Corridors, subways, neon, time lapse, travelators and low flying jets, trains, shopping arcades, Chung King Mansions stuffed to the gullets with sullen, sweating people cooled by antique electric fans, the scheming tattooed triads, outbursts of random violence, warehouses, chopping knives, video cameras, motorbikes speeding through tunnels, the multi-racial hand in hand with the super-commercial... Hong Kong insinuates itself into our imaginations as the ubertraumstadt, the place of ultimate nightmare and ultimate romance, where beauty is all the more poignant for its dark, cheap, pitiless setting and dreams are all the more necessary."

Visually stunning, with so many effects and shots - the neon lights, reflections, colors, wide angle lens, low frame rate, handheld camera, titled angles - and they all work without seeming like gimmicks, giving the film great style. I just wish the story and feelings had been as profound as the cinematography.

Fallen Angels: like the companion movie (Chungking Express), it's a pure cinematographic gem born unexpectedly. Wong Kar-Wai and Chris Doyle were working on Ashes of Time, and the project was exhausting. They decided suddenly to put Ashes of Time on hold and to produce quickly something light, unpretentious, just to warm their spirits. There was no script, just a loose idea: some slices of life in today's Hong Kong, kind of romantic comedies with young heroes hanging around Chungking Mansions and Midnight Express. Two vignettes were made this way, with young cops falling in love, drug dealers wearing sun glasses and blond wigs, barmaids becoming flight attendants and flight attendants returning from San Francisco: this was Chungking Express, released in 1994.

As the third vignette was unfolding, it became clear for the director that the mood of the story was different, and it deserved a separate movie: that was Fallen Angels, released in 1995. Two completely distinct plots evolving in parallel, and intertwining only in brief moments and only by hazard. A young hit-man getting his assignments through a fax machine and a sympathetic and totally immature mute (played with irresistible charm by Takeshi Kaneshiro, who was also an irresistible cop-in-love in Chungking Express).

Well, a mute cannot talk, everybody knows it, but what happens in Fallen Angels is that actually nobody seems able to communicate through human speech. The agent (Michelle Reis - I saw her also in Flowers of Shanghai) who gives the assignments to the hit-man (and even visits his narrow apartment when he is out) is a gorgeous girl, unconditionally in love for his subordinate. However she never meets him and prefers to masturbate instead. It is a terrifying impression of loneliness in a frenetic city, everybody is alone there, on her or his own, deepened in her or his own thoughts and dreams, and everybody's dreams seem crazy while only dreams keep you there to not get crazy.

I remember the cabs in a region I used to live for many years: the driver had a small computer on board and all communication with the dispatcher was through the screen, no room for bargaining of any kind, no space for any human feeling, of joy or sorrow, of sympathy or sarcasm. Here in Fallen Angels it's the fax machine, the same sensation of alienation, of loss of humanity. Humans transformed in robots, keeping their human condition for themselves only, through masturbating dreams of impossible love.

And it remains the city itself. Mark Rothko has a great observation about the relation between foreground and background in an art work: sometimes the personages (or the objects) have only the function to glorify the background ("... may limit space arbitrarily and thus heron his objects. Or he makes infinite space, dwarfing the importance of objects, causing them to merge and become part of the space world"). The same observation is somehow made by Malevich when analyzing the way Monet had rendered the Cathedral of Rouen: "...when the artist paints, and he plants the paint, and the object is his flower-bed, he must sow the paint in such a way that the object disappears, because it is merely a ground for the visible paint with which it is painted." Is this movie about people alienated by Hong Kong, or is it here a meditative poem about the city itself? One of the personages in the movie has an unexpected sentence, "Buddha said, If I don't descend into hell, who will?" The sentence passes quickly and seems at first sight without any meaning in the logic of the story. Maybe it offers the clue: Hong Kong, this space of "hyper-sub-reality" (as one of the reviewers puts it), this "Űbertraumstadt of ultimate nightmare" (apud another reviewer), actually offers the image of hell, and the heroes of the story descend there, why? To follow the archetype? And if we go again to the observation made by Malevich on Monet and Rouen Cathedral, here in Fallen Angels subject and city disappear in the gorgeous cinematic language: a great movie pushing the cinematic language to its ultimate expression. A couple of great creators: Wong Kar-Wai and Chris Doyle. Let me add here that another great contemporary cinematographer was also part in the team: Mark Lee Ping-Bin.

And if I were to choose an image from Fallen Angels, this one would be: the city in the night with its endless traffic and movement and changing lights, near the narrow apartment where the hit-man inspects quietly the fax machine.