Happy Together (2017)

There's a good chance the film will make you laugh out loud, but if it doesn't, there's an even better chance it will make you openly sob.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

I first saw Happy Together during its original release and kind of liked it. I recall very clearly not quite understanding why I kind of liked it ,and couldn't justify it to my friend who I'd seen it with and who didn't like it. 10 years later a friend gave me bag of old DVD's he was getting rid of and this was one of those, so I watched it again one rainy afternoon. What a difference a second viewing made. I recently saw it again on the big screen and my affections and appreciation for this film continues to grow as the film continues to reveal itself and I understand it more. Unlike many, I do not see this film as a love story between to men but rather view the central relationship as just one of the films many elements the director uses to show the individual and solo aspect of life that each of us faces. Family relationships, romantic love, professional relationships, random people that come and go in our lives, and through differing cultures, are all used to illustrate this central theme. The acting is wonderful, the characters unique and interesting and the cinematography and score all combine to create a beautiful and powerful, and haunting experience. Happy Together is not an easily accessible film and for the viewers who saw this film and liked it or disliked it, I encourage a second viewing. Happy Together really is a wonderful and moving film well worth the time and challenge.

Innovative, special and inspired. I runned into the cinema, having no idea of what kind of movie was expecting me. It was a big surprise. The story was really nothing that would interest me in anyway, but this is the proof, that beauty is on the form .What an amazing film! Full of resources and passion. They say it wasn't all new, or maybe any of it, but it was elegant, and unusual.I was touched, and amazed. For me it was the revelation of a genius. His following works confirmed this impression. Wong Kar Wai is a great artist.Thank you very much!

Happy Together is a throbbing, raw, and profoundly nostalgic lament from two displaced traveling Chinamen yearning for emotional soundness, for their homeland, and for each other. Wong doesn't front us any of the flickering that can still be struck between lovers who fight all the time. There is no deep poetic interpretation of the story itself, but by leaving so much unsaid, writer-director Wong Kar-Wai doesn't make the misstep of suffocating his characters' relationship with trite soap dialogue. That is not to say, however, that the film even remotely knows the meaning of the phrase "less is more."You don't watch this film as much as seize on to it. Letting it yank you every which way is a raucous yet intriguing excursion, with fertile visual stylizations that trail you long after seeing the film, all with the impact to communicate directly with the heart. The visuals make the film come alive, and make material the displacement, and thus the unhinging, that the main characters feel from their surroundings and each other. Rather than using dialogue, this highly stylized romance chiefly imparts its themes and moods through its images, and Wong fashions an interior audiovisual composition about the mood swings of a love affair. Wong's use of images for purely emotional photogenic value, feverish camera movements, jukebox soundtrack and his improvisation and experimentation with the actors have an effect reminiscent of Scorsese's Mean Streets. In Wong's emotional roller coaster of a film, the characters seem to have a formidable intuitive certainty that their relationship is star- crossed sooner or later, but they follow passionate impulses regardless, giving the film a dreamy texture that it can't shake as its lovers turn-step to and fro during their free-form Argentine spree.Wong gradually layers the relationship, just like it would happen in real life, and the doubts and obscurities are constant. He extracts powerful performances from his lead actors. While Leslie Cheung gracefully fluctuates his moments between yearning, resentment, and anger, Tony Leung Chiu-Wai is the calm eye of the storm.Leung acts from the inside. We intuit his feelings through his natural physical subtleties, chiefly through the sensitive eyes. Even purely physical scenes, like the fights he has with Leslie Cheung's character, don't happen suddenly. Leung winds up for these moments instinctively and then defensively underplays them. And when the tears come, they pour without affectation, making me wonder from what part of Leung's soul he quietly unearths these moments from as Wong rolls the camera.

Something of an obvious precursor to the subsequent masterpiece In the Mood for Love (2000); Happy Together (1997) is a tragic love story by way of recollection. If you're at all familiar with the work of director Wong Kar-Wai - from his breakthrough film Days of Being Wild (1991), to his more recent masterwork, the unsung 2046 (2004) - then you'll be accustomed to his personal approach to cinema; from that continually drifting sense of quiet melancholy and disconnected ennui - all captured by a roving camera that conspires to alienate characters from one another by intrusive shot composition and naturalist production design - and a beguiling approach to the concept of time continually abstracted in order to create drama from moments of fond reminisce. Once again, the feeling expressed in Happy Together is that of loneliness and despair, as characters drift spectre-like through desolate cities attempting to cling to moments and memories as if gasping for their final breath; and all the while distorted by a frequently hypnotic approach to music, structure, pace and cinematography.If the film lacks the sophistication of the aforementioned In the Mood for Love, it is only because the process of refinement has replaced the edginess and earthiness of this film, with a studied, technical grandeur and ornate beauty that is really quite transcendent. Nonetheless, the style and tone of Happy Together fits the mood of the film perfectly; capturing the feckless uncertainly of the character's lives - both together and apart - and concurrently suggesting the idea of memory and repetition that plays an important role in the way the narrative ultimately plays out. The first viewing might very well be confusing, with scenes occurring that seem to simultaneously represent both the past and the present, and with information presented in a series of incredibly quick cuts, disconnected voice-over and a continually jarring cross-cutting back and forth between lurid colour and an oddly tinted monochrome, which seems to work on an emotional level, as opposed to any kind of narrative convention.That said, the grittiness of the film suggests an uncompromising and starkly unconventional beauty in keeping with the film's central relationship; with the violent and volatile shifts in stock capturing the same unpredictable impulses and urges of the central characters as they fight, break-up, reconcile and drift apart against a rolling backdrop of exotic and atmospheric locations. The use of Buenos Aires as the central setting adds texture to the film, and the vibrant way in which the director captures the strange, mysterious and nocturnal atmosphere of the city is evocative to say the least. Here, the rhythm of the film becomes tuned to that of the Argentine tango that swirls through the bar where the characters rediscover one another; with the staccato rhythms of the movement underscored by the sad reflections of the accordion music and the stampeding percussion of feet against floors, combined with continual hints of tortured romanticism - touching without feeling, sensing without sensuality, etc - that are so central to these characters and the odd situation they find themselves in.The location also ties in with the filmmaker's fondness for the work of author Manuel Puig; whose style of writing has some influence on the tone and languid energy of the film in question, with Wong and his crew - and in particular cinematographer Christopher Doyle - expressing certain unspoken facets of this relationship through framing, movement, colour and rhythm. The fact that the film focuses on a homosexual relationship is ultimately secondary. As is often the case with Wong Kar-Wai, the film is about that urge and desire to belong to something - or someone - and the pursuit of an unrequited love that is powerful enough to drive you to the end of the world. We see these themes repeated again and again, from the inter-linked meta-romance of Days of Being Wild, In the Mood for Love and 2046, to the brilliance of Chungking Express (1994). Through the jarring nature of the relationship between the reckless and subtly abusive Ho Po-Wing and the more sensitive and brooding Lai Yiu-fai, Wong is able to express a series of thoughts and ruminations of the notions of love in a way that is intelligent, but always easy to identify with, regardless of gender or sexuality.Later in the film, the director expresses slightly more profound feelings through the friendship of Lai Yiu-fai and the young runaway Chang. Here, we see a mutual respect and unspoken love that goes beyond sex and sexuality; creating a pure statement on the notion of love and the desire to belong to someone or something, within a certain time or place. A love so great that the person would be willing to carry your own sadness to the end of the world, to lessen the burdens of life and open the door to a new beginning free of difficulties and strife. There are deeper themes expressed throughout - too many to go into in this review - nonetheless, the film is understated and brimming with emotion; in keeping with the director's more iconic or well-regarded films, such as the ones aforementioned, and continuing a number of important themes and motifs that are both thought-provoking and affecting. The film also benefits from the fine performances of the three lead actors, stunning locations, cinematography, great atmosphere, mood and spirit; and an overall approach to cinema that is poetic, to say the least.