The Influential Powers of ‘Chungking Express’
How the 1994 Hong Kong film influenced writer/director Barry Jenkins and Moonlight
Life has a remarkable way of figuring things out.
In the midst of growing up, Barry Jenkins, the writer and director of Moonlight — this year’s Best Picture winner, believed making films was never in the realm of possibility. (Jenkins also co-won the Best Adapted Screenplay award this past Sunday). He related his experiences in a roundtable discussion for The Hollywood Reporter, where he said, “I didn’t really want to be a filmmaker. It just seemed like it was beyond me. I would see movies, but, other than Spike’s [Lee] movies I would think, ‘Oh, where is there a place for me?’”
Born and raised in Miami, Florida, Jenkins attended Florida State University — a mere 400 miles north of Miami in Tallahassee, Florida. As a junior, he became interested in the school’s film program. Majoring in English, Jenkins knew little about the technicalities of filmmaking. Regardless, the school piqued his interest. He gave it a shot and was accepted to the school’s film program.
Jenkins’ first semester was tough. Still unaware on how to make a film — “I didn’t know you needed light to expose film,” he told The Hollywood Reporter — he knew he was “in the outs”. Aware of his handicaps, yet still yearning to learn more about filmmaking, he took a year off. Jenkins educated himself on the physical process and technical aspects of making films. He also expanded his film IQ. Jenkins was not interested in making “Spielberg knockoffs”; he wanted his filmmaking voice to be different. To do so, he started watching foreign films. “I went to Blockbuster, and I chose the foreign film wall. I randomly just started picking things off, ” Jenkins said. One day, he chose a film that, ultimately, solidified his passion for filmmaking: 1994’s Chungking Express.
Written and directed by Wong Kar-wai, Chungking Express is a Hong Kong film that consists of two stories about policemen and their relationships with women. Relating his initial thoughts on the film, Jenkins said, “I’ve never been to Hong Kong; I have no idea what this is like; I don’t really read subtitles. But, this is amazing.” After watching the film, Jenkins’ mind was sure about one thing: he wanted to make films.
Hearing this story and coming off of Moonlight’s big weekend at the Academy Awards, I thought it would be interesting to watch the film that inspired Barry Jenkins. In the context of what we know today, Chungking Express is an important film. It gave an Oscar award-winning filmmaker the confidence and voice to start his career. Does Chungking Express hold up? Does it offer a window into the mindset behind Moonlight?
The main thread throughout Chungking Express is the power and randomness behind relationships. Whether the relationship falls into the category of friends, co-workers, strangers or lovers, relationships all have power and meaning in our day to day life. The first story of the film tells the story of a policemen He Qiwu (Takeshi Kaneshiro), who is dealing with a break-up with his girlfriend. Qiwu decides to buy canned pineapple — her favorite food — and eat them all in one month. Qiwu rationalizes that in a month his girlfriend will either return to him or signify their love has died. Taking place at the same time, a woman working in the drug underworld, unnamed and known for her blonde wig (Brigitte Lin), is trying to survive after being set up. The two meet up and spend the night, conversing about their lives. Ultimately, the two split and decide to act to escape their monotonous month.
The first story is, by far, the most entertaining. The two main characters that end up interacting with one another come from completely different ends of the social spectrum. One is a policeman; the other a drug runner. However, they share a very human feeling: loneliness. Qiwu can not get over his break-up, seemingly in a rut day after day. The blonde wig woman, after she loses the drugs she is supposed to deal, is helpless and desperate. She has no one she can turn to for immediate help. Despite Hong Kong being a large place filled with numerous people, the two loneliest people, somehow, find each other. Even if its for one not, having someone to talk to and spend time with effects our psyche. These interactions can send someone from hopelessness to a sense of belonging.
Wong Kar-wai beautifully juxtaposes shots of busy streets with his story of these two characters. The perfect illustration of this concept is the first scene, where Qiwu is chasing a criminal in the streets and ends with him, unknowingly, running into the blonde woman. We, as humans, do not know when, where and how we potentially meet or see the people that shape our lives. Even in the biggest cities and the busiest areas, that person or people might be closer than one thinks.
The second story is much more complicated and, for me, far less interesting. In short: the first story ends with Qiwu running into Faye (Faye Wong), the main character of the second story. Faye falls in love with another policeman, who is also dealing with a breakup. Seeing his life in disarray, Faye secretly helps the man out. She goes to his apartment and cleans, eventually going on a date with the man. She stands him up, electing to travel the world before entering in any serious relationship.
The action and flow of the second story seems more forced and rough. There does not seem to be a natural interaction between the characters through each scene in the second story. The first story felt as if the audience is watching two real people come together, the second story feels like watching two made-up characters. The dialogue is not as natural and the acting falls off, contributing to the decline of quality. The filmmaking, though, remains strong. Both stories contain strong directorial examples. The first scene with the chase, the blonde wig woman’s hunt for her missing drugs and the “airplane scene” all show — and not tell — the relationships each character has with the world and those around them. (Barry Jenkins notes the “airplane scene” as his most memorable moment from the film).
Chungking Express showcases the shrinking world. The film came out in an era where watching movies at home — via VHS tapes — became a normal thing to do. Most Americans who had no idea where Hong Kong was in China— let alone knowing about their films— could expose to themselves to new cultures and ideas. In the film, western music is enjoyed by the characters and Europeans/Americans are seen walking around and taking in the sights and sounds of Hong Kong. Chungking Express shows that the world is shrinking and that we, as humans, are becoming — if not already — more interconnected with cultures from around the globe. That is Chungking Express’ greatest lesson.
That lesson is clear in Barry Jenkins’ Moonlight. For many of us, Miami is not Hong Kong. But, the people and experiences we meet in Moonlight are just as eye-opening as seeing people in Hong Kong. Jenkins’ beautifully portrays Chungking Express’ thesis statement about the power and warmth of having and developing relationships — whether via a friendship, family or romance. Like Hong Kong, Miami is a big city filled with lots of people with different cultural backgrounds. Despite this diversity, some people experience soul-crushing loneliness — only to feel uplifted when forming connecting with others outside their social circle. When it comes to people, never judge a book by its cover. Looks are superficial; the heart and soul is where the connection lies.
Chungking Express is an obvious influence on Moonlight. The film holds up quite well, remaining most exciting and engaging. The detailed experiences of stranger and the impactful relationships they form are incredibly told. While the film loses steam by the end, its message remains strong and illuminating: never underestimate the power of relationships and sometimes the loneliest souls become a trusted friend.
