Wong Gok ka moon (1988)

Wong Gok ka moon: Directed by Kar-Wai Wong. With Andy Lau, Maggie Cheung, Jacky Cheung, Alex Man. Mid-level gangster Wah falls in love with his beautiful cousin, but must also continue to protect his volatile partner-in-crime and friend, Fly.

“Wong Kar Waiu0026#39;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 u0026amp; idiosyncratic dialogue, character driven films) and themes(eg. love,urban environment, world in turmoil and chaos)u003cbr/u003eu003cbr/u003eObviously inspired by Martin Scorseseu0026#39;s early effort u0026#39;Mean Streetsu0026#39;, which was in turn partly inspired by u0026#39;beatu0026#39; filmmaker John Cassevetes debut film u0026#39;Shadowsu0026#39;; u0026#39;As Tears Go byu0026#39; is u0026#39;Mean streetsu0026#39; 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 Woou0026#39;s u0026#39;A Better Tomorrowu0026#39;. In many ways, Wongu0026#39;s depiction came accross as more bittingly realistic, helped by its many on-location filming (another WKW style). Hong Kongu0026#39;s neon lit streets/dark dingy alleys/fluorescence interiors/late night piers, blended in perfectly with Wongu0026#39;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 u0026#39;Young u0026amp; Dangerousu0026#39; series that bears several visual u0026amp; subject matter influences from this film.Though I must add that Young u0026amp; Dangerous portrayal of heroic gansters is more glorifying than Wongu0026#39;s pathetic bloodied characters.u003cbr/u003eu003cbr/u003eExcellant 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 yearu0026#39;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 Manu0026#39;s supporting turn as the most sadistic villian imaginable.u003cbr/u003eu003cbr/u003eu0026#39;As Tears go Byu0026#39; 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 Scorseseu0026#39;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. Scorseseu0026#39;s u0026#39;Mean Streetsu0026#39; works because it manages to stay focus on the main protaganist POV and motivations. The whole film is centered around Harvey Keitelu0026#39;s character, and the other characters serves as his burden to his climb up the mafia ranks. That direction seems lost in Wongu0026#39;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 u0026#39;As Tears go byu0026#39;. 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.u003cbr/u003eu003cbr/u003eNevertheless, u0026#39;As Tears Go byu0026#39; is without a doubt a milestone of WOngu0026#39;s career as well as Hong Kong cinema. The visceral on-screen violence, realistc seedy portrayal of HKu0026#39;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 Woou0026#39;s u0026#39;A Better Tomorrowu0026#39;, 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.u003cbr/u003eu003cbr/u003e7/10 from me.”