Written by Natalie Tham

 

Wong Kar-wai’s Chungking Express (1994) is a film that explores the significance of the multifaceted nature of human relationships when set against the larger backdrop of the bustling Hong Kong city. The film starts with Wong presenting individuals in their struggles for love, release and a sense of self, giving the illusion that the city is hidden with pessimism despite its appearance of vibrancy and modernity. Yet, through divulging the individual relationship developments of the main characters across the film, Wong redeems the bleak states of the torn and forlorn, by presenting the optimism and hope that arises from their interactions with each other. 

 

These interactions can be seen via Wong’s constant portrayal of precision - the precision of the characters’ chance encounters with each other, an optimistic outlook of mere coincidences turning into something significant, or even life-changing. Wong also focuses on the character developments of the heartbroken men, documenting their transition towards hopeful new relationships and moving away from a self-depreciating state. Hope and optimism is also shown through individual growth and development of the characters, which are catalysed by their own individual relationships. Each and every character is bounded by responsibilities, by inhibitions, that hold them back from reaching their fullest potential. To break away from these, is to regain agency and progress in their lives.

 

The film may seem dark initially, as audiences are introduced to visuals of underground alleys and drug mules, of heartbreak and insensible idealities of a young girl working in nothing but a midnight snack stall, yet, seeping through the cracks of these incomplete and broken souls are avenues for redemption, for optimism, and for hopefulness that is for them to claim. The chance for betterment is ironically and not-so-ironically, paved by the constancy of human relationships. 

 

 

The precision of chance encounters emphasises the hope and optimism that surrounds human interactions and developments, highlighting that mere coincidences between the characters may advance into something more. Wong demonstrates this through precise scales of measurement, which is first exhibited when Qiwu brushes against the blonde during a criminal chase. Upon that interaction, his voiceover tells audiences that there is “just 0.01cm between [them]”. This precision is further enhanced when the scene cuts to show the clock striking 9.00pm at the exact moment of their encounter. The distance and time which plays out on screen may seem like a passing moment, but the precision of the measurement underscores the significance of the encounter and its psychological effect on Qiwu, as only events or items of significance are usually measured in such precise ways. This psychological effect is explained when Qiwu reveals that he actually falls in love with her at an exact “fifty-seven hours later”. Audiences will also be introduced to this unlikely pair, one an undercover police, and one a undercover drug mule - to be spending a night together in a hotel room.

 

Perhaps one of his most well-known technique, Wong’s use of step printing in the scenes preceding Qiwu and the blonde’s encounter also enhances the idea of precision. Step printing presents jerky camera movements and out-of-focus shots during Qiwu’s criminal chase, which alludes to the speed and disorientation of being in the bustling city. Against this backdrop, Qiwu’s fleeting moment with the blonde seems even more significant as despite how vast and complex the city may be, he bumps into the blonde at that precise moment.

 

 

 

 

There is also a parallel when Officer 663 and Faye coincidentally meet outside of Midnight Express, which eventually turns into a recurring event throughout the film. Again, the setting plays an important role in portraying the precision of their meeting – they are both situated in the bustling market filled with people at that precise point of time, yet they are able to meet by chance. Wong’s cinematography also deliberately guides the audience to not expect the coincidence - Faye drags the basket of potatoes tirelessly, tracking movement follows the distinct mise-en-scène that seemingly only serve to characterise her job scope, yet slowly, the sleeve of Officer 663′s uniform is revealed. They bump into each other back to back, and the audience follows through these movements exactly, emphasising the effect of such a significant coincidence which is not expected from the audience, or from Faye and Officer 663 themselves. 

 

These chance encounters which are precisely measured thus effectively fulfils Qiwu’s reflection at the start of the film - “You brush past so many people every day, some you never know anything about, but others might become your friend someday”. The events in the film that follow satisfies that, asserting an optimistic outlook on chance encounters, almost too good to be true, but Wong’s commitment to realism makes it believable entirely.

 

 

The film presents hope and optimism through the male protagonists’ ability to overcome heartbreak, which is presented through Qiwu and Officer 663’s progress towards overcoming their break-ups with the entrance of potential new partners.

Firstly, Qiwu attempts to seek for new romantic love with the blonde at the bar. Although a tryst between them does not materialise when they spend the night together in the hotel, Qiwu is still able to resolve his emotional grievances. He does this firstly, by devouring plates of chef’s salads throughout the night. The mise-en-scène of consuming food here symbolises Qiwu’s need for emotional relief, and he does so by gorging himself. Interestingly, the non-diegetic backing track of saxophone music in the scenes alludes to a heavy sense of sensuality; the blonde rolls around in bed, while Qiwu devours his food while watching her intently. Yet there is no sexual interactions between the two. Could Qiwu be imagining a possible intimate activity in his mind and acting upon it by consumption of food? Was this an imaginative catharsis for him? It could be assumed that that is the case, but ultimately, it can be established that the physical company of the blonde seems to rid him of his loneliness in a gentle and non vulgar way, as he is able to have an agent to bestow his affection upon. This is seen through Qiwu’s gentle treatment towards the blonde, removing her shoes before he leaves and cleaning them with his own tie, even though she is asleep and unaware. His sensitivity towards the blonde despite her lack of mutual romantic or sexual interest reflects that Qiwu after having being jilted, still does not bear bitterness towards ideas of affection and love. 

Conclusively, the ironic juxtaposition of Qiwu and the blonde against the setting cements the sense of self-gratification for Qiwu. Although it is not a typical romantic or sexual development which is insinuated by the setting of the hotel room, he is still able to at least spend the night in the hotel with another woman, to cope with his heartbreak, to be a man of a pair. He is aware of his position as he knows that ‘when the sun rises, he has to go’. The night perhaps is a tryst, but an emotional one that allows Qiwu to break away from his past self. He seems to not expect more from the blonde, and is satisfied as the morning light breaks through the glass window.

Similarly, Officer 663 actively explores a new relationship with Faye after knowing that she has been secretly cheering him up, and redecorating his home. His actions also reflect his hopefulness to the new relationship, cleaning up his own place and sealing up the belongings of his air-stewardess ex-girlfriend into a box, in which he describes as “clearing the runway for another plane to land”. This image signifies the removal of his past, and willingness to make space for someone new in his life. The treatment of the motif of ‘boarding pass’ is also significant in exhibiting Officer’s 663 attitude towards love. Initially, he refuses to collect the letter from his ex-girlfriend, reflecting his inability to accept the reality of the break-up which is marked out by the of the ‘boarding pass’ stating ‘flight cancelled’. Yet, for the case of Faye’s letter which also contains a ‘boarding pass’, he retrieves it even after throwing it away, an evident display of Officer 663’s new found courage and willingness to face a relationship. Officer 663′s recovery could be inferred to be rewarded at the last portion of the film. A chance encounter with his ex-girlfriend not only reaffirms their incompatibility, with her preferring him to be in his uniform and vice versa, it also reflects his emotional progression when the encounter parallels him and Faye’s reunion. When Officer 663 playfully flirts with Faye, complimenting her new look of being in an air-stewardess uniform, she likewise tells him that he looks nice in his casual wear. This is indicative of mutual acceptance, and perhaps even, an unconditional one, since there is clear interest that is still sustained after both Officer 663 and Faye’s career and physical switch. Both the individuals are so far from their previous life and livelihood, yet this scene informs audiences that this is the start of a possible new life and relationship of a previously forlorn Officer 663. His ex-girlfriend may not like what he is now, but what matters is, Faye appreciates it. 

Both male protagonists overcome their states of misery, with the female characters becoming their agents of recovery. In the end, audiences can see an overall change in Qiwu and Officer 663; they no longer don their uniforms or their on-duty attires. Their costume change reflects their renewed sense of self. They even break out of their old habits; Qiwu heads to Midnight Express for a drink of Coke rather than calling his ex-girlfriend like before, while Officer 663 is no longer moping over his agony with black coffee. Instead he becomes the owner of Midnight Express and reunites with Faye at the very spot they first met. These transformations ultimately exhibit that regressive emotional heartbreaks can be resolved through hopeful new relationships.

Optimism and hope can be seen through the development and growth of the individual characters, which are catalysed by the relationships that they are in. This is exemplified through the two female characters’ breaking away from their individual states of stagnation.

The blonde’s individual development stems from the betrayal of the Caucasian man who sets her up. This leads to her drug mission failing, and her voiceover tells audiences that “people change”, referencing her pessimistic outlook of the betrayal. However, she resolves this by killing the Caucasian man. She is then seen stepping out into the daylight for the first time in the film, a significant shot that addresses her character’s progression as she was previously seen navigating around only in dark settings such as underground pathways and dark alleyways, a representation of the darkness she is living in. The camera also zooms into the canned food in the last shot of the blonde’s narrative. This camera focus on the opened canned food with the expiration date of ‘1 May 1994’ emphasises the blonde’s release from the drug baron. This is significant when one considers that the motif of the canned food has been associated with her and her liabilities to the underworld. The blonde’s character development thus underscores the optimism that is found from release as she becomes a free agent that is no longer tied down by any burdens or ‘expiration dates’ that restrain her. 

Similarly, Faye’s individual growth is catalysed by her relationship with Officer 663. Despite her attraction towards him, she struggles between prioritising her own dreams and Officer 663. This is addressed in the scene where she waits for Officer 663’s arrival at the restaurant; her presence there suggest her openness to the relationship, yet what she really wants to see is “the other California [which is] warm and sunny”. Despite the struggle, her eventual decision to fly to California cements her overwhelming desire to fulfil her own dreams. This can even be foreseen in previous scenes where she constantly daydreams, listens to the song ‘California Dreamin’, plays with a toy plane and even at one point, tries on the air stewardess uniform of Officer 663’s ex-girlfriend. The motif of dreams and flight in her narrative serves to underscore her need to unroot herself from her stagnation, which eventually materialises successfully. By doing so, Faye is able to not only grow as a person, but also give herself time to clarify her feelings for Officer 663. Her return to Midnight Express a year later suggests individual growth that is seen from her career switch to being an air stewardess. Additionally, her reunification with Officer 663 sees her drawing up a new ‘boarding pass’ for him, one that overwrites the previous one and can take him wherever she chooses to take him to; this is a hopeful representation of her readiness to allow the relationship to ‘take flight’.

Ultimately, both the blonde and Faye’s agency to change themselves despite being rooted to their individual relationships is thus suggestive of their desire for self-growth. This is an optimistic presentation of their power in choosing to further themselves even when relationships may hold them back. There is a sense of power that is evoked through the female characters fluidity, which is a contrast to the men in the story, who are mulling over lost love and living in self-depreciating ways as a result. 

The canned food with the expiration date 1 May 1994 is opened, signifying the blonde’s release.​​​​​​​

There is so much more to be said about the representations of the self and relationships in this film, but ultimately, Chungking Express can be classified as a film that is still largely hopeful and optimistic in presenting human relationships. The pessimism that arises from the characters’ initial desolation is a springboard to more positive changes. Their emotional relief by the end of their narratives signify the hope that lies under the dynamism of human relationships, as they eventually culminate into something positive for them. In the city of Hong Kong where people brush against each other’s shoulders without a care, there is a possibility and a hope, for a miraculous union somehow.