- Remastered From New HD Film Transfers
- Presented For the First Time in 5.1 Surround (Supervised by Wong Kar-Wai)
Commonly regarded as one of the most influential directors of contemporary cinema, Wong Kar-Wai (Happy Together, In the Mood for Love) has developed a signature style that employs bold, experimental uses of photography, music, and editing to capture the tension of the new millennium. Originally intended to be a third story in his now classic Chungking Express, Fallen Angels has emerged as what some critics have come to consider his (quintessential work.) Set in the neon-washed underworld of present day Hong Kong, Fallen Angels intertwines exhilarating tales of love and isolation, primarily the unconsummated love affair between a contract Killer (Leon Lai Ming) and the ravishing female Agent (Michele Reis) who books his assignments and cleans up after his jobs.
- Three Behind-the-Scenes Featurettes
- Interview with Cinematographer Christopher Doyle
- Stills Gallery
- Enhanced for 16x9 TVs
was originally planned as one section of director Wong Kar-Wai's best-known film, Chungking Express
, but eventually it grew into its own distinct and delirious shape. In many ways, Fallen Angels
may be the better film, a dark, frantic fun-house ride through Hong Kong's nighttime world. Part of the film is a love story between two people who have barely met: a young, ultra-hip hit man (Leon Lai) and the dreamy operative (Michele Reis) who plans his jobs. Much of the movie is given over to a very strange subplot about a manic mute (Takeshi Kaneshiro) who goes on bizarre nocturnal prowls through a closed food market--like almost everything else in Wong's films, this is antic, stylish, and oddly touching, all at the same time. It must be said that, also like Wong's other films, Fallen Angels
is fragmented and oblique to the point of occasional incomprehensibility
but then suddenly something wild or wonderful happens, such as the moment when the killer leaves the scene of a spectacular shooting and is promptly waylaid by a cheerful old school chum on a public bus. These coups--whether lyrical, violent, or simply "how on earth did they get that shot?"--are tossed off by Wong and cinematographer Christopher Doyle with all the cool of the hired killer, as though the movie were a cigarette dangling from a pair of oh-so-casual lips. This is exactly why so many otherwise calm critics fell all over themselves in hailing Wong Kar-Wai as one of the most exciting filmmakers of his generation. --Robert Horton
--This text refers to an out of print or unavailable edition of this title.