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Wong Kar- wai - Wikipedia. Wong Kar- wai, BBS (born 1. July 1. 95. 8) is a Hong Kong Second Wave filmmaker, internationally renowned as an auteur for his visually unique, highly stylized work, including As Tears Go By (1.

Days of Being Wild (1. Ashes of Time (1.

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Chungking Express (1. Fallen Angels (1. Happy Together (1. The Grandmaster (2. His film In the Mood for Love (2. Maggie Cheung and Tony Leung, notably garnered widespread critical acclaim.

Wong's films frequently feature protagonists who yearn for romance in the midst of a knowingly brief life and scenes that can often be described as sketchy, digressive, exhilarating, and containing vivid imagery.[1]Biography[edit]Early life and career beginnings (1. Wong Kar- wai was born on 1. July 1. 95. 8 in Shanghai, the youngest of three siblings.[2] His father was a sailor and his mother was a housewife. By the time Wong was five years old, the seeds of the Cultural Revolution were beginning to take effect in China and his parents decided to relocate to British- ruled Hong Kong. The two older children were meant to join them later, but the borders closed before they had a chance and Wong did not see his brother or sister again for ten years.[5][6] In Hong Kong, the family settled in the Tsim Sha Tsui district, and his father got work managing a night club. Watch The Map Reader Dailymotion.

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Being an only child in a new city, and speaking only Mandarin, Wong has said he felt isolated during his childhood; he struggled to learn Cantonese and English, only becoming fluent in these new languages when he was a teenager. As a youth, Wong was frequently taken to the cinema by his mother and exposed to a variety of films. He later said: "The only hobby I had as a child was watching movies".[8] At school he was interested in graphic design, and earned a diploma in the subject from Hong Kong Polytechnic in 1. After graduating, Wong was accepted onto a training course with the TVB television network, where he learned the processes of media production. He soon began a screenwriting career, firstly with TV series and soap operas, such as Don't Look Now (1. He worked as part of a team, contributing to a variety of genres including romance, comedy, thriller, and crime. Wong had little enthusiasm for these early projects, described by film scholar Gary Bettinson as "occasionally diverting and mostly disposable", but continued to write throughout the 1.

Just for Fun (1. 98. Rosa (1. 98. 6), and The Haunted Cop Shop of Horrors (1. He is credited with ten screenplays between 1. Wong spent two years co- writing the screenplay for Patrick Tam's action film Final Victory (1.

Hong Kong Film Awards.[1. As Tears Go By[edit]By 1. Hong Kong film industry was at a peak, enjoying a considerable level of prosperity and productivity.[8] New directors were needed to maintain this success, and – through his links in the industry – Wong was invited to become a partner on a new independent company, In- Gear, and given the opportunity to direct his own picture. Gangster films were popular at the time, in the wake of John Woo's highly- successful A Better Tomorrow (1. Wong decided to follow suit.[8] Specifically, unlike Hong Kong's other crime films, he chose to focus on young gangsters. The film, named As Tears Go By, tells the story of a conflicted youth who has to watch over his hot- headed friend.[note 1]Because he was well acquainted with the producer, Alan Tang, Wong was given considerable freedom in the making of As Tears Go By.

His cast included what he considered some of "the hottest young idols in Hong Kong": singer Andy Lau, Maggie Cheung, and Jacky Cheung.[8]As Tears Go By was released in June 1. It was also a critical success, as several journalists named Wong among the "Hong Kong New Wave". While it was a conventional crime film, critic David Bordwell said that Wong "[stood] out from his peers by abandoning the kinetics of comedies and action movies in favour of more liquid atmospherics."As Tears Go By received no attention from Western critics upon its initial release, but was selected to be screened during Directors' Fortnight of the 1. Cannes Film Festival.

Developing style (1. Days of Being Wild[edit]"I could have continued making films like As Tears Go By for the rest of eternity but I wanted to do something more personal after that.

I wanted to break the structure of the average Hong Kong film."—Wong on the transition from his first film to Days of Being Wild (1. For his follow- up film, Wong decided to move away from the crime trend in Hong Kong cinema, to which he felt indifferent.

He was eager to make something more unusual, and the success of As Tears Go By made this possible. Developing a more personal project than his previous film, Wong picked the 1. Days of Being Wild focuses on a disillusioned young adult named Yuddy and those around him. There is no straightforward plot or obvious genre, but Stephen Teo sees it as a film about the "longing for love". Andy Lau, Maggie Cheung, and Jacky Cheung rejoined Wong for his second film, while Leslie Cheung was cast in the central role. Hired as cinematographer was Christopher Doyle, who became one of Wong's most important collaborators, photographing his next six films. With its popular stars, Days of Being Wild was expected to be a mainstream picture; instead it was a character piece, more concerned with mood and atmosphere than narrative.[8] Released in December 1.

Despite this, it won five Hong Kong Film Awards, and received some attention internationally. With its experimental narrative, expressive camerawork, and themes of lost time and love, Days of Being Wild is described by Brunette as the first typical "Wong Kar- wai film". It has since gained a reputation as one of Hong Kong's finest releases. Its initial failure was disheartening for the director, and he could not gain funding for his next project – a planned sequel.[8]Ashes of Time[edit]Struggling to get support for his work, in 1. Wong formed his own production company, Jet Tone Films, with Jeff Lau. In need of further backing, Wong accepted a studio's offer that he make a wuxia (ancient martial arts) film based on the popular novel The Legend of the Condor Heroes by Jin Yong.[8] Wong was enthusiastic about the idea, claiming he had long wanted to make a costume drama.[8] He eventually took little from the book other than three characters, and in 1. Filming began with another all- star cast: Leslie, Maggie, and Jacky Cheung returned alongside Brigitte Lin, Carina Lau, Charlie Young, and Tony Leung Chiu- wai − the latter of which became one of Wong's key collaborators.

Set during the Song dynasty, Ashes of Time concerns a desert- exiled assassin who is called upon by several different characters while nursing a broken heart. It was a difficult production and the project was not completed for two years, at a cost of HK$4. Upon release in September 1. Film scholar Martha P. Nochimson has called it "the most unusual martial arts film ever made", as fast- paced action scenes are replaced with character ruminations and story becomes secondary to the use of colour, landscape, and imagery.

As such Ashes of Time was a commercial failure, but critics were generally appreciative of Wong's "refusal to be loyal to [the wuxia] genre". The film won several local awards, and competed at the Venice Film Festival where Christopher Doyle won Best Cinematography.[3. In 2. 00. 8, Wong reworked the film and re- released it as Ashes of Time Redux.[note 2]Breakthrough (1. Chungking Express[edit]During the long production of Ashes of Time, Wong faced a two- month break as he waited for equipment to re- record sound for some scenes.

He was in a negative state, feeling heavy pressure from his backers and worrying about another failure, and so decided to start a new project: "I thought I should do something to make myself feel comfortable about making films again.

Sai Kung Jul 2. 01. Hong Kong Living Ltd.