The protagonists of both sections are cops, and the four main actors are all Asian box office attractions: pop music idols Takeshi Kaneshiro and Faye Wong, Hong Kong action/dramatic star Tony Leung Chiu-wai, and veteran actress Brigitte Lin Ching-hsia (the film’s only fortysomething star, coming out of retirement for a cameo appearance as a drug smuggler, fashioned as an homage to another middle-aged cult actress, Gena Rowlands in Gloria). Wong piled on the commercial elements: the first half is a nod to the gangster thriller, the second is pure screwball romance. Made while Wong was taking a break from the lengthy, difficult postproduction of his only martial arts period picture, Ashes of Time (1994), Chungking Express was intended as a money-generating quickie for the director’s Jet Tone company, and indeed the movie, which was made in three months, start to finish, has a wacky spontaneity that is unique in his oeuvre.
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This generation gap imparts a sense of distance mixed with tenderness, and also focuses the films on the dominant issue for heterosexual young adults: how to negotiate the desire and confusion they feel vis-à-vis the opposite sex. Masculin féminin (1966) and Chungking Express were the first films in which their respective directors focused predominantly on characters who were around ten years their juniors. What Jean-Luc Godard did for “the generation of Marx and Coca-Cola” in the mid-1960s, Wong Kar-wai did for restless Hong Kong youth during the anxious decade that preceded the handoff to China.
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C hungking Express (1994) was the Masculin féminin of the 1990s, a pop art movie about cool twentysomethings looking for love in the city that has replaced Paris as the center of the world-cinema imagination.
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