Director: Kar Wai Wong Runtime: 94 minutes Links: IMDB Noted Hong Kong filmmaker Wong Kar Wai’s second film, Days of Being Wild, is the first film where he allowed the artistic streak that permeates his first Triad film, “As Tears Go By”, to come to fruition. The gorgeous looking, moody loners staring off into space, moving in slow and slower motion through a lovetorn reality, largely created out of their own doing. This is also because this is the very first film Wong had as his primary director of photography, the master cinematographer, Christopher Doyle, who can infuse a setting as simple as a tree lined jungle or a cluttered room with as much erotic longing as anyone in the world today. Here, Wong has the presence of mind to have the pick of the Hong Kong acting litter at the time (1991).  One is amazed at the variety:  Leslie Chung, he of the flawless skin, Maggie Chung, of the Police Story movies of Jackie Chan, among others, Carina Lau, Jackie Cheung as well as Andy Lau.  Even Tony Leung Chiu Wai is present near the very end in a peculiar cameo. Leslie plays York in the English translation (or Yuddy in the Cantonese), a merciless playboy moving from one woman (Maggie as a sullen ticket taker in 1960 Hong Kong) to another (Carina as a sultry dancer, warly holding on to York as much as she can). Andy is the police officer who tries to confort Maggie, as she leaves Leslie for not wanting to commit, Leslie having only a long term relationship with his comb throughout the film.  Rebecca Pan is the former woman of the night who has raised Leslie (and is the probable cause of his romantic sullenness). The notion of memories and remembering (of Leslie, for example, telling Maggie to remember the very minute they met) is a theme that has permiated much of Wong’s work.  Here is the beginning of Wong’s leitmotif he plays with in each film: here, the clocks and watches that pop up in every other scene, reminding viewers of the inexorable passage of time, aging and ending both friendships and love affairs, of voiceovers again recalling a time past, when Andy, once a police officer helping Maggie with the fallout of a wronged love affair, is now a sailor roaming the globe, now alighting in the muggy atmosphere of the Philippines. The way Wong pauses the film every so often to take in his actor’s reactions, even the way they take in every day life is also given full play here.  We see Leslie Cheung at one point staring at his aged guardian Rebecca for about a minute and a half, each trying to voice their mutual disgust at the other, each drifting in their mutually sealed off orbit to their own self propelled circle of hell. Rating: 7/10