Chun Gwong Cha Sit (Happy Together)

This 1997 movie from Wong Kar Wai, being by Wong Kar Wai, is, of course, completely brilliant.
The film has the director's traditional open, direct style. That is, he doesn't feel the need to show things that he can perfectly as well say. This is particularly satifying from an artistic point of view; a genuinely honest director. The relationship is also done in his traditional, simple way. The relationship is linear, without any need to take us on too many twists in upon itself. It follows a great rythm, never contrived. For all his visual flair and excitement, Wong Kar Wai, it is easy to forget, is one of the very finest storytellers. He he again has his repeated underlying sadness. A realisation that the circle does not always meet its other side; something things just end.
Visually, Wong Kar Wai is as great as ever. This film is more openly intriguing; its starts in black and white, with various dark contrasts. He moves to colour, always with a certain flare. He uses many fascinating shades, with filters on the cameras strikingly, often in dark contrasts. This creates a specially sharp film, one that almost glowers, but is prevented from being oppressive by a certain sense of duty.
As far as the use of the camera, Wong Kar Wai also uses the freeze frame on occassion. Again, Wong Kar Wai is adept at doing this without it seeming obtrusive; this is one of his aspects of genius; it is difficult to analyse, it is simply brilliant.
The framings and the images themselves are, of course, wonderful. The full body, the few mid shots. The smoke that twists in between them. Wonderful, modern, exciting compositions.
Wong Kar Wai is one of the very, very finest directors, certainly alive, perhaps he should be described, modern though as he is, to a wider scheme. This film isn't far off 'Chungking Express' and 'In The Mood For Love', it is difficult to evaluate now, but we look forward to seeing it again. Another great work.