Happy Together (1997) User Reviews

Turns out that lonely people are all the same.

[film-critic · 9/10 · 10 August 2005]

Just when you thought that you knew everything about Hong Kong cinema or about romantic adventures in film, director Kar Wai Wong steps forward and eliminates all boundaries. Transforming your typical picture of a straight couple and violently handing us the relationship of Yiu-fai and Po-wing using untraditional cinematography is only scratching the surface of this picture. If you found yourself shocked by the opening sequence or annoyed by the drastic image of the film, then you definitely are not a film junkie. This movie had everything a cinephile would desire like strong characters, a non-linear story, and the brazen truth about modern society's relationships. This was more than just a gay film, but instead a story about emotions and loves, coupled with all the turmoil that surrounds it. It is ironic that the title of the film is Happy Together, because it completely challenges the true themes. It is about love, but about the difficulties that surround a dying relationship. From the visual opening to the amazing use of several different cinematography techniques, Happy Together may not suit everyone, but to this film junkie it opened a new door in Hong Kong cinema.

This film would not have worked if it weren't for the apparent brilliance of director Kar Wai Wong. While I have been impressed with his other films like In the Mood for Love and his work on the BMW series, The Hire, this film literally blew me out of the water. To begin, the opening sequence. If this very sexual opening doesn't set the tone for the rest of the film, I don't know what will. I was shocked, disturbed, and on-edge the entire time. I didn't see the love between our two characters at all in the beginning, but that was because it was to show the destruction of their relationship. Then, Wong did several things that just impressed me and kept my attention focused on the film. First, he took these two vacationing men from Hong Kong and set them in a foreign city. So, not only was it uneasy to watch this relationship disintegrate in front of our eyes, but to be lost in a unfamiliar city only made it worse. Second, he focused the camera on only one of the characters (Yiu-fai) to enhance that sensation about Po-wing's indiscretions. Through Yiu-fai we felt the human emotions just boil through of having to see a love that only hurt. Finally, he continually changed the cinematography through different scenes. This was impressive because it only added more tension to our characters and themes. Two travelers lost in a foreign country, trying to patch a dying relationship, with a constantly changing cinematic style, was tough to watch … but that was the theme that Wong wanted to capture. This is not your typical romantic picture, but instead it showcases the truth about two men that perhaps were not the greatest fit. Even when he throws in the waterfall element, it only adds to the overall theme. The waterfall, to me, represented the falling relationship. Beauty on the outside, a violent tendency as the water falls … just like our relationship.

Wong successfully created this tension by hiring some of Hong Kong's best actors. They carried themselves with the greatest of comfort and control. I felt as if I knew these characters by the end of the film. I felt as if I had gone through a similar struggle as they did. These two men challenged the idea of "normal" relationships, yet kept their personas simple, human, and intense. You could not help but feel emotion for these two, even if you did not like the story. They kept the tones light when they needed to be, then brought you deep within the rabbit hole when the darkness erupted. The final scenes of this film are fascinating to watch, and I had to see them again. The downfall of Yiu-fai into a role similar to Po-wing was heartbreaking, yet stunning. Here we have two men who I thought were complete opposites from the beginning, yet somehow, to quote Wong, "Turns out that lonely people are all the same."

Finally, I cannot finish without saying that the cinematography was outstanding in this film. The use of black and white in the beginning and slowly bringing in the colors was breathtaking. This film was more than just actors working for a director, but instead a director creating art. Christopher Doyle bulls-eyed the tone of the film and brought forth an intense picture that only complimented Wong's work. It just impresses me to see a film, like Happy Together, where all the elements come together and work in unison. It is a rarity in today's Hollywood, but thankfully we have directors like Kar Wai Wong whom embrace it. From the beginning of the movie until the final scenes, Doyle challenges an brings together some of the most beautiful scenes in cinema, transforming the normal into the extraordinary.

Overall, this was a spectacular film. After I watched it the first time, I had to see it again, but didn't know if I could. Its emotional strength was so overwhelming that I had to stop myself. I couldn't watch these two brilliant actors tear my heart apart again. It was a sad film, it was an angry film, but most importantly it was a film about being lost in love. Those who may have enjoyed Lost in Translation, this would be a great film to match with it. While not structured the same, it does give us that feeling of being apart in a new world, struggling to get home or to discover one's self. Wong is one of the greatest directors in the world, and I cannot wait to open my soul to his work again. Brilliant film-making, determined and unmatched acting, coupled with the best cinematography this world has ever encountered! A must for everyone!

Grade: **** out of *****

Raw, Imperfect, Intense

[gonzagaext · 9/10 · 14 November 2006]

"Happy Together" is a depressing film. Yet it's one which I keep coming back to when I feel down and heartbroken.

Lost souls, lonely, longing, and lovelorn, are staples in the Wong Kar-Wai universe. His best works uncannily portray the beauty and misery of being struck by love and its multiple variations and illusions. His fluid, script-free, improvisational style of work is now legendary and applies well to the unpredictable nature of this subject matter while giving his works a raw, open-ended quality. "Happy Together" is quite probably his rawest work to date and, as a result, one of the most difficult to watch (this honor goes to "Ashes of Time"). The rawness makes it seem organic. It feels as if it's an ever-evolving creature which hides and exposes its multiple facets with each different viewing.

Argentina sounds like a great romantic escape for most of us but for our couple, Po-wing (Leslie Cheung) and Yiu-fai (Tony Leung), it's a lonely, bleak, melancholic place on the edge of the world. Travelogue film this isn't. Buenos Aires may have initially held romantic promise for them. "Let's start over," Po-wing asks Yiu-fai yet again, and off they go to South America to work things out. Soon, however, the place becomes a physical representation of their relationship. It's claustrophobic and oppressive, something that could've been so beautiful yet one which they now need to escape from. Wong beautifully portrays spectacular Iguazu Falls with mythical significance throughout the film. Initially nothing more than amusing kitsch, it eventually progresses as the defining geographical manifestation of their amorous aspirations. It achieves such heavy, symbolic power, the last time we see it is one of the most memorable scenes in the film.

If the homosexual angle seems downplayed here, it is to parallel the film's treatment. It's so matter-of-fact it's irrelevant and even embarrassing to make an issue out of it. This is a couple who just happens to be gay. Indeed, there is nothing gay-specific about the film, the couple may well have been straight and it wouldn't make a difference at all.

"Happy Together" is such a vivid examination of a relationship, it's occasionally painful to watch. The emotional authenticity, however, makes it quite absorbing. Wong Kar-Wai often aims for the heart and, with the possible exception of "In the Mood for Love", he's never been closer to his target.

A film about alienation - inside and outside

[sannelehmann · 9/10 · 18 April 2005]

In "Happy Together" Director Wong Kar Wai tells us the story of a relationship that does not survive the alienation inside and outside.

The film is set in Argentina where two lovers are stranded because they don't have enough money to return to their native Hong Kong.

The film shows us that Fai and Po-wing are unable to find equality or balance in their relationship. It is a story about the way most relationships are defined by the balance of power.. and how this leads to despair. Fai reflects that their relationship was the happiest when Po-wing was ill and had to be cared for like a child. As Po Wing's health improves Fai draws away from him and refuses his attempts of closeness, illustrated by the constant battles over couch and bed. When Po-Wing is well enough to go out again by himself the balance of the power in relationship shifts. Po-wing slowly but surely slips away into the world of hustling. He never finds his way back to Fai who eventually saves enough money to go home.

Both are emotionally devastated by the loss of their lover. We only see them being happy together in a glimpse, as they dance a slow dance together in their room. It seems the happiness in their relationship that Fai refers to in connection with Po-Wing's illness, is an isolated kind of happiness that he himself enjoys without Po-wing's knowledge. If they are ever indeed Happy Together we see it only in facial expressions, in their tone of voice but these are expressions of love and tenderness that never seem to reach the surface that remain unspoken.

Wong Kar Wai's visual style is absolutely stunning. He conveys the alienation inside the relationship - and the alienation outside - (I am referring to the fact that they are in a different country) through colors and camera-movements. We are constantly looking at the protagonists from a corner high above or through the window of a seedy bar. Every single shot feels claustrophobic and it irritates the viewer. It makes the viewer long for closeness and clarity. It imitates the longing of the characters and their attempts - and failure - at connecting to each other. Their feelings, as does the eye of the lens, float above them in a silent, detached loneliness.

"Happy Together" is one of those films that I do not really enjoy watching. It is actually physically painful to watch because it hurts the eye as much as it hurts the soul. The film makes its style and subject matter into one flesh, a "happy" marriage of form and content.

9/10

the face of loneliness

[qwertzy · 11 March 2004]

In this Wong Kar Wai production, loneliness takes on the face of 3 Chinese travellers who, after alienating themselves from the society they came from, end up at the end of the world. Argentina, which is the antithesis of HK, may be the farthest place you can get from HK, but still they cannot entangle themselves from the emotional baggage they have been carrying. Loneliness is a state of mind which follows you no matter where you are, and ensnarls you when you are at your most vulnerable.

While the story may be more famous as a film about gay relationship, it is in fact, not so. The lead characters just happen to be gay, and loneliness, with all the jealousy and melancholy that comes with it, takes centrestage.

Brilliant & Touching Story of loneliness & dislocation

[davidals · 9/10 · 16 September 2003]

I didn't think so the first time I saw HAPPY TOGETHER, but I really think this film is a masterpiece. Technically it's amazing - the hand-held camera-work is incredible, and the mindbending shifts from saturated colors to monochrome (which I first felt was a stylish stunt) really underscores the loneliness and alienation of the characters brilliantly - the overall effect by the films' end is devastating.

HAPPY TOGETHER was apparently also - at least partially - inspired by the Argentine novelist Manuel Puig, author of 'Kiss Of The Spider Woman' among many other novels, and Puig's fiction tackles similar issues in a similarly fractured style (filled with footnotes, digressions and sudden shifts in perspective), all to incredibly powerful emotional effect.

If HAPPY TOGETHER is something of an homage to Puig, it's a great one. On it's own it's also a devastating portrait of a disintegrating relationship.

Unhappily Apart

[curaceau · 9/10 · 13 February 2010]

Viewing this film was like watching the Tango! Leslie Cheung and Tony Leung were absolutely mesmerizing as lovers who exist in a state of conflict, constantly estranged from their homeland, their loved-ones and each other. The ending was heartrending (no surprise), but I found the interaction between the couple to be pure comedy. The situations that each character found himself in were anything but funny, however, the ups and downs in their relationship were so realistic that I couldn't help but laugh at how insane love can be.

Regardless of race, class, gender, culture, sexual orientation and even geography, this movie will serve as a love letter to anyone who has the misfortune of being truly, madly and deeply in love with the one person on earth who drives them nuts. Those of us fitting this description will find many confirmations (but no comfort) in Yiu-Fai and Po-Wing's story. I could totally relate to Yiu-Fai when he stated that Po-Wing's illness was actually the time when they were the happiest together. Moreover, the story paints a vivid portrait of long-term relationships as swaying perilously between states of codependence, complacency and claustrophobia.

If I had to decide on a letter grade, though, I would have to give the movie an "A-" instead of an "A" because I was hoping that Leslie Cheung would not be confined to the typical doomed drama-queen role. Ironically, the story explores individual, national and global identity when, throughout the cinema world, one is hard pressed to find performers who rival Tony Leung's depth and Leslie Cheung's range. Despite his hallmark androgyny, I personally believe that Cheung could play Rambo convincingly! The universal nature of the story was also threatened by its stereotypical depictions of gay life (violent relationships and promiscuity). I think the film's core message could have been conveyed just as effectively without the use of hackneyed scenarios. Fortunately, the amazing soundtrack and the breathtaking cinematography more than made up for any flaws.

Fantastic movie

[pedrovelazquez · 10/10 · 16 April 2012]

Innovative, special and inspired. I runned into the cinema, having no idea of what kind of movie was expecting me. It was a big surprise. The story was really nothing that would interest me in anyway, but this is the proof, that beauty is on the form .

What an amazing film! Full of resources and passion. They say it wasn't all new, or maybe any of it, but it was elegant, and unusual.

I was touched, and amazed. For me it was the revelation of a genius. His following works confirmed this impression. Wong Kar Wai is a great artist.

Thank you very much!

A Highly Stylized Emotional Roller Coaster

[jzappa · 8/10 · 12 April 2009]

Happy Together is a throbbing, raw, and profoundly nostalgic lament from two displaced traveling Chinamen yearning for emotional soundness, for their homeland, and for each other. Wong doesn't front us any of the flickering that can still be struck between lovers who fight all the time. There is no deep poetic interpretation of the story itself, but by leaving so much unsaid, writer-director Wong Kar-Wai doesn't make the misstep of suffocating his characters' relationship with trite soap dialogue. That is not to say, however, that the film even remotely knows the meaning of the phrase "less is more."

You don't watch this film as much as seize on to it. Letting it yank you every which way is a raucous yet intriguing excursion, with fertile visual stylizations that trail you long after seeing the film, all with the impact to communicate directly with the heart. The visuals make the film come alive, and make material the displacement, and thus the unhinging, that the main characters feel from their surroundings and each other. Rather than using dialogue, this highly stylized romance chiefly imparts its themes and moods through its images, and Wong fashions an interior audiovisual composition about the mood swings of a love affair. Wong's use of images for purely emotional photogenic value, feverish camera movements, jukebox soundtrack and his improvisation and experimentation with the actors have an effect reminiscent of Scorsese's Mean Streets. In Wong's emotional roller coaster of a film, the characters seem to have a formidable intuitive certainty that their relationship is star- crossed sooner or later, but they follow passionate impulses regardless, giving the film a dreamy texture that it can't shake as its lovers turn-step to and fro during their free-form Argentine spree.

Wong gradually layers the relationship, just like it would happen in real life, and the doubts and obscurities are constant. He extracts powerful performances from his lead actors. While Leslie Cheung gracefully fluctuates his moments between yearning, resentment, and anger, Tony Leung Chiu-Wai is the calm eye of the storm.

Leung acts from the inside. We intuit his feelings through his natural physical subtleties, chiefly through the sensitive eyes. Even purely physical scenes, like the fights he has with Leslie Cheung's character, don't happen suddenly. Leung winds up for these moments instinctively and then defensively underplays them. And when the tears come, they pour without affectation, making me wonder from what part of Leung's soul he quietly unearths these moments from as Wong rolls the camera.

Very interesting film

[kerryhill123 · 6/10 · 17 June 2014]

Wong Kar Wai's 'Happy Together' Happy Together is a Hong Kong film released in 1997 and directed by popular Chinese director, Wong Kar Wai. It stars Leslie Cheung and Tony Leung and tells the story of two gay men who have moved to Argentina to escape Hong Kong after it has been handed over to the Chinese. It depicts a turbulent romance between the two characters Ho-po Wing and Lai Yui- Fai. I found the film extremely interesting in the way it represents not only relationships but the relationship between two homosexual men. The film tackles manipulation, neediness and loneliness, all common occurrences in many relationships. It presents Po Wing and Fai as a normal couple, no different than a heterosexual couple. I particularly enjoy how they both have a gender role, with one being more clingy and needy than the other. The film is rather touching and moving in the way it emphasises the damage a relationship can have on an individual involved.

The acting was very good and convincing and you did believe the emotion felt. The mise-en- scene is also very interesting in this film, the use of black and white and colour to represent different time frames is very clever and interesting and the general low key lighting of the film makes it feel very gritty. The location in which it is set is not glamorous or desirable and in particular Fai's apartment is very basic and can also act as a metaphor for Fai's state of mind, messy and dark.

The cinematography was very good at helping to tell the story in the best way possible and creates an almost claustrophobic feeling with many close and medium shots and locations often being small. The claustrophobic feeling from the closed in cinematography creates a similar feeling to what Fai's character must be feeling, closed in and trapped by his ex/lover Po Wing.

All in all, I think this film is definitely worth a watch but could possibly be frustrating if you are easily bored. Its an interesting piece of cinema when it comes to psychology and is a interesting spin on a love story.

One and only showing in Singapore

[aw-6 · 9/10 · 16 May 1999]

This was the closing film at last year's Singapore International Film Festival. It was actually banned but was allowed this one and only film screening in Singapore. Needless to say, the cinema was full to the brim and Christopher Doyle and Wong Kar Wai were there to introduce the film as well as parried any questions by the audience after the show.

What can I say? Vintage War Kar Wai, I suppose. Chris Doyle's cinematography was beautiful and enchanting; his birdeye's shot of the waterfall is firmly engraved in my mind. Tony Leung performance was touching and extremely poignant; most notably when he cried silently into the tape recorder, releasing all his personal frustrations, angst, sense of betrayal, hopelessness and loss in those few minutes.

It's not so much a gay film as a show about relationships. The two main protagonists could be two men, one woman and one man or even two women and the show would just be as poignant - the flighty, flirtatious and capricious lover vs the loyal, stable, long suffering and tolerant partnerl. However, seeing it being played out between two male leads was somewhat refreshing. Still, one can't help but wonder if Maggie Cheung, being one of Wong's muse, took one of the roles, what additional depth she might bring to this project?!

Masterful Camera-work Drives Elliptical Portrayal of Co-Dependent Couple Stuck in Buenos Aires

[EUyeshima · 6/10 · 3 February 2006]

After seeing the recent DVD release of "2046", I was curious to take in an earlier film by wunderkind Hong Kong filmmaker Wong Kar-wai. This visually arresting though rather discombobulated film from 1997 is more modest in scope, as it focuses on the unhealthily co-dependent relationship between two on-again, off-again gay lovers from Hong Kong, who end up broke on a last-chance trip to Argentina. In a volatile yin-yang situation, Ho Po-Wing is the cockier and apparently needier of the two, always in search of the next rush of instant gratification regardless of the source, while Lai Yiu-Fai is the controlling partner either unblinkingly morose or explosively volatile. In terms of where the story starts, their relationship has become nothing but a series of arguments and break-ups.

With no flashback to point to a happier time or a hint of a positive indication as to why they are together, Wong comes up short in inflaming any sparks that could still be struck between lovers who argue constantly. Moreover, the film really has little structure other than to show the difficulties which people have in sustaining a connection. A third person is introduced but in an intentionally vague manner, as Lai gets a new job at a restaurant and meets the effusive Chang, a young Taiwanese trying to earn enough to fund his travels abroad. A romance does not occur but an emotional connection does, which causes Lai to make moves toward liberating himself from his depraved situation.

Except for a somewhat graphic opening scene, the homosexual elements are downplayed in favor of a kinetic energy that leverages Christopher Doyle's creative cinematography. Doyle combines black-and-white sequences with color, as well as the random use of different film stocks, exposures and frame rates to manipulate the passage of time. He also lends stunning overview shots of Iguazu Falls, the movie's metaphorical centerpiece, lending a dream-like, salvation quality to the couple's hoped-for destination. Both the attractive leads lend visceral energy and an emotional authenticity to their roles - Wong's favorite leading man, Tony Leung Chiu-wai as Lai and the late Leslie Cheung as Ho. The passionate, often violent dynamics between the two are convincing. Chen Chang effectively infuses Chang with an idealism that makes Lai's attraction, platonic or not, understandable.

Although I think Wong is a supremely talented director, I was surprised to find out that this film earned him the Best Director prize at the 1997 Cannes Film Festival, flawed as the film is. Although it is as visually audacious as "2046", I have to admit I was left a bit cold emotionally by the end product. The DVD does include an invaluable looking-back documentary called "Buenos Aires - Zero Degree". An hour in length and for once, a truly indispensable supplement, it shows the movie's evolution through rehearsals, script development and cast interviews, including deleted scenes of abandoned subplots and characters.

Buy the DVD! I guarantee you will never see a better "making of" anywhere!

[ccsears · 10/10 · 3 July 2007]

This is a tie for my favorite WKW film--In the Mood for Love is the other one. Nothing needs to be added to anyone's critique or review of the movie per se. It is emotionally painful to watch, almost unbearably so. But, when that is coupled with WKW's script-less approach, it means that the film is probably not right for everyone.

But I'd just like to add that the DVD edition has an incredible 1-hour-long "making of" featurette. It also is filmed in WKW style and utterly floored me. Here, you can see other relationships WKW tested out on this freeform screenplay, including a straight relationship between Tony Leung and a female character that didn't make the cut, and also some interviews with one Chinese living in Argentina who decided to stay abroad there. It really is an insider view on how deep WKW digs looking for that "elusive something" that has become his hallmark. I guarantee you will never see a more revealing "making of" anywhere!

Ona personal note, an extended family member of mine died from AIDS while living abroad about one week before I saw this. So obviously, it does hold some personal associations for me. After finishing it, I couldn't watch it again for about 3 years afterwards due to the depth of some of the emotions it brings up. What WKW does say about alienation and relationships in this film rings completely true, probably more so than in any of his other films. On the other hand, because of the very fact that it is not a film "about" homosexuality, his frank, matter-of-fact approach to the relationship helped me to relate to certain aspects of my relative's life and death on very simple, human terms.

Aesthetically Amazing, Lacking in Character Development

[ASuiGeneris · 7/10 · 21 March 2018]

Happy Together (Chinese: Chun gwong cha sit) (1997)

Doyle's camera, Blur, slow down, upside down, Cut, pan, tilt, track, zoom Cinematography dream. Artful shots and scenes, Magic with Wong's direction. Two lovelorn lost souls Wandering Argentina, Not much else for plot, Still manages to take us On hypnotic ride. Like the waterfall they seek From the lamp they bought, This ode to loneliness shows Downfall of their love, From the boldly sexual start To the truthful end. Title's complete opposite, As Lai Yiu-fai says, "Lonely people... all the same." Sorrowful Apart. Despite aesthetic merits, Failed to capture me. Never really cared for them, Lacked necessary Character development, Not enough substance, Aside from a few key scenes, Ideally watched in background.

Choka (long poem) is an epic storytelling form of poetry from the Waka period, an unrhymed poem with the 5-7-5-7-5-7-5-7...7 syllable format (any odd number line length with alternating five and seven syllable lines that ends with an extra seven syllable line). #Choka #PoemReview

What are they raving about?

[Davalon-Davalon · 2/10 · 17 July 2016]

I am at an absolute loss as to why this film is getting 10s and winning festivals. This "story" is a mish-mashed mess of sloppily shot scenes, poorly cut, about two people that it was nearly impossible to care anything about.

I do not know what the point or purpose of this movie was. If writer/director Kar- Wai Wong thought he was showing us how difficult love can be, he definitely hit upon a theme. And IF he had made us care about these two irritating, strange, selfish people, it might have had an impact, despite how sloppily it was put together. Lai Yiu-fai (Tony Leung) is the only one of the two that seemed to have a sense of responsibility and seemed to understand the value of love and caring. Ho Po-wing (Leslie Cheung) seemed to be more interested in goading Fai into arguments, hanging on him, wanting love, or money, or whatever he wanted whenever he wanted, without earning a single moment of it. I hated him. I couldn't understand what his source of anger was. Did he think money fell out of the sky? Did he think a nutritious meal was a box of cigarettes? Did he think that having sex with whoever he wanted to was going to "endear" him to Fai? If he had shown a MOMENT of sensitivity (other than the completely fake one at the end where he "cries" over Fai's blanket), I might've been on his team. But I found him repulsive.

I believe the Cantonese language was used (not Mandarin), but I am sure there must be something more beautiful about it than what was heard in this movie. No matter what was said, it sounded like a complaint. The main couple always seemed miserably unhappy. There is one scene where they dance some kind of faux-tango in a horrible dingy kitchen. In this ONE SCENE there is the sense of love between these two and that SOMEHOW they belong together. But since the rest of the movie is spent screaming at each other, throwing fists into walls, pushing each other down, knocking cigarettes off shelves, cheating on each other, lying to each other, hurting each other... I just couldn't care.

This is the second time I've seen this. The first time was years ago, because it was a "gay film" and feature-length gay films were hard to come by. I saw it a second time because I had just seen Kar-Wai's "I'm in the mood for love" -- which I found to be sensual and beautiful and erotic.

"Happy Together" showed that Tony Leung is a wonderful actor with a lot of gifts. He outshone everyone in it. I also thought that he was totally believable as a conflicted gay man.

But the problem is: the film only HINTED at how good it could have been. It was really not a story. It was snippets or peeks into the miserable, somewhat pointless existence of these two unhappy men, and it wasn't done well. I don't know what people are raving about. Kar-Wai has a unique talent, but he didn't really put it to good use in this rambling mess.

Sculpting in time; Wong's hypnotic rumination on love and dislocation

[ThreeSadTigers · 17 July 2008]

Something of an obvious precursor to the subsequent masterpiece In the Mood for Love (2000); Happy Together (1997) is a tragic love story by way of recollection. If you're at all familiar with the work of director Wong Kar-Wai - from his breakthrough film Days of Being Wild (1991), to his more recent masterwork, the unsung 2046 (2004) - then you'll be accustomed to his personal approach to cinema; from that continually drifting sense of quiet melancholy and disconnected ennui - all captured by a roving camera that conspires to alienate characters from one another by intrusive shot composition and naturalist production design - and a beguiling approach to the concept of time continually abstracted in order to create drama from moments of fond reminisce. Once again, the feeling expressed in Happy Together is that of loneliness and despair, as characters drift spectre-like through desolate cities attempting to cling to moments and memories as if gasping for their final breath; and all the while distorted by a frequently hypnotic approach to music, structure, pace and cinematography.

If the film lacks the sophistication of the aforementioned In the Mood for Love, it is only because the process of refinement has replaced the edginess and earthiness of this film, with a studied, technical grandeur and ornate beauty that is really quite transcendent. Nonetheless, the style and tone of Happy Together fits the mood of the film perfectly; capturing the feckless uncertainly of the character's lives - both together and apart - and concurrently suggesting the idea of memory and repetition that plays an important role in the way the narrative ultimately plays out. The first viewing might very well be confusing, with scenes occurring that seem to simultaneously represent both the past and the present, and with information presented in a series of incredibly quick cuts, disconnected voice-over and a continually jarring cross-cutting back and forth between lurid colour and an oddly tinted monochrome, which seems to work on an emotional level, as opposed to any kind of narrative convention.

That said, the grittiness of the film suggests an uncompromising and starkly unconventional beauty in keeping with the film's central relationship; with the violent and volatile shifts in stock capturing the same unpredictable impulses and urges of the central characters as they fight, break-up, reconcile and drift apart against a rolling backdrop of exotic and atmospheric locations. The use of Buenos Aires as the central setting adds texture to the film, and the vibrant way in which the director captures the strange, mysterious and nocturnal atmosphere of the city is evocative to say the least. Here, the rhythm of the film becomes tuned to that of the Argentine tango that swirls through the bar where the characters rediscover one another; with the staccato rhythms of the movement underscored by the sad reflections of the accordion music and the stampeding percussion of feet against floors, combined with continual hints of tortured romanticism - touching without feeling, sensing without sensuality, etc - that are so central to these characters and the odd situation they find themselves in.

The location also ties in with the filmmaker's fondness for the work of author Manuel Puig; whose style of writing has some influence on the tone and languid energy of the film in question, with Wong and his crew - and in particular cinematographer Christopher Doyle - expressing certain unspoken facets of this relationship through framing, movement, colour and rhythm. The fact that the film focuses on a homosexual relationship is ultimately secondary. As is often the case with Wong Kar-Wai, the film is about that urge and desire to belong to something - or someone - and the pursuit of an unrequited love that is powerful enough to drive you to the end of the world. We see these themes repeated again and again, from the inter-linked meta-romance of Days of Being Wild, In the Mood for Love and 2046, to the brilliance of Chungking Express (1994). Through the jarring nature of the relationship between the reckless and subtly abusive Ho Po-Wing and the more sensitive and brooding Lai Yiu-fai, Wong is able to express a series of thoughts and ruminations of the notions of love in a way that is intelligent, but always easy to identify with, regardless of gender or sexuality.

Later in the film, the director expresses slightly more profound feelings through the friendship of Lai Yiu-fai and the young runaway Chang. Here, we see a mutual respect and unspoken love that goes beyond sex and sexuality; creating a pure statement on the notion of love and the desire to belong to someone or something, within a certain time or place. A love so great that the person would be willing to carry your own sadness to the end of the world, to lessen the burdens of life and open the door to a new beginning free of difficulties and strife. There are deeper themes expressed throughout - too many to go into in this review - nonetheless, the film is understated and brimming with emotion; in keeping with the director's more iconic or well-regarded films, such as the ones aforementioned, and continuing a number of important themes and motifs that are both thought-provoking and affecting. The film also benefits from the fine performances of the three lead actors, stunning locations, cinematography, great atmosphere, mood and spirit; and an overall approach to cinema that is poetic, to say the least.

WONDERFUL.

[andrewchristianjr · 8/10 · 6 June 2021]

A poignant portrait of a relationship between two men uprooted from their home country, Happy Together explores the ups and downs, the pros and cons of commitment, as the lead characters careen and collide against each other with their discordant personalities acted out wonderfully.

In Bong and Wong we stan

[alansabljakovic-39044 · 9/10 · 29 November 2019]

Beautiful movie that shows harsh reality of relationships. Color palette is so beautiful and he used black and white so smartly. I also love camera movement and cinematography. Beautiful message with great score.

Wong Kar-Wai's best yet

[Matador · 10/10 · 30 March 1999]

Wong Kar-Wai has already established himself as one of the most talented filmmakers working in Hong Kong cinema, and, indeed, the world. In his latest film, Happy Together, he recounts the story of two gay lovers, played brilliantly by Tony Leung and Leslie Cheung. As usual, the storyline in the film is rather sparse, which does nothing to detract from the final product. The beauty of Happy Together lies in Wong Kar-Wai and cinematographer Christopher Doyle's unsurpassed ability to simulate a specific mood through film. In Happy Together, the filmmakers continue their trademark visual style, consisting heavily on strobe, slow-motion, wide-angle lenses, and jump-cuts. For the first time in Wong Kar-Wai's career, he mixes black and white with color film, creating a complex web of flashbacks. The color, especially, seems to almost jump out from the screen. The music, taken from tango album 'The Rough Dancer and the Cyclical Night', by Astor Piazzola, beautifully excentuates the lingering feelings for a lover gone. Happy Together marks another point in Wong Kar-Wai's maturity as a director. Each one of his films surpasses those previous to it.

Life After Love

[jenlim · 9/10 · 11 June 2004]

Watching Happy Together is an emotional experience. If you've ever gotten your heart trampled on, look at the screen and you will find yourself staring at a mirror. This is your story. And the wonderful thing about this movie is, it's not just a good story. It's a visual wonderland, a super-stellar extravaganza of only two superstars (they're all you need)and, maybe by accident, a compassionate statement on homosexuality.

Problems, hurts, and feelings are universal and unconfined by sexual preferences and demography. If you've ever felt alone, I hope you watch this movie and find yourself in good company.

There are many Internet articles on Happy Together.

Decent film

[cooperblack4 · 7/10 · 17 June 2014]

Happy Together review

Happy Together has a pretty basic plot, but gets more twisted and heartbreaking as it goes along. It tells the story of Fair and Po, gay couple who go on a 'getaway' into the urban life of Argentina that on the way discovers the deep emotions obetween one another. Basically, Yiu- Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a tango bar to save up for his trip home. When a beaten and bruised Po-Wing reappears, Yiu-Fai is empathetic but is unable to enter a more intimate relationship.

Lost souls, lonely, longing, and lovelorn, are staples in the Wong Kar-Wai universe. His best works uncannily portray the beauty and misery of being struck by love and its multiple variations and illusions. His fluid, script-free, improvisational style of work is now legendary and applies well to the unpredictable nature of this subject matter while giving his works a raw, open-ended quality. "Happy Together" is quite probably his rawest work to date and, as a result, one of the most difficult to watch The rawness makes it seem organic. It feels as if it's an ever-evolving creature which hides and exposes its multiple facets with each different viewing.

Wong successfully created this tension by hiring some of Hong Kong's best actors. They carried themselves with the greatest of comfort and control. I felt as if I knew these characters by the end of the film. I felt as if I had gone through a similar struggle as they did. These two men challenged the idea of "normal" relationships, yet kept their personas simple, human, and intense. You could not help but feel emotion for these two, even if you did not like the story. They kept the tones light when they needed to be, then brought you deep within the rabbit hole when the darkness erupted. The final scenes of this film are fascinating to watch, and I had to see them again. The downfall of Yiu-fai into a role similar to Po-wing was heartbreaking, yet stunning. Here we have two men who I thought were complete opposites from the beginning, yet somehow, to quote Wong, "Turns out that lonely people are all the same."

"Happy Together" is one of those films that I do not really enjoy watching. It is actually physically painful to watch because it hurts the eye as much as it hurts the soul. The films style blends perfectly with the characters performances and the situations they have to undergo. I would recommend this film to anyone who enjoys the surreal style of film which Wong crafts successfully. 7/10

Challenging and Highly Rewarding

[daoldiges · 10/10 · 27 June 2018]

I first saw Happy Together during its original release and kind of liked it. I recall very clearly not quite understanding why I kind of liked it ,and couldn't justify it to my friend who I'd seen it with and who didn't like it. 10 years later a friend gave me bag of old DVD's he was getting rid of and this was one of those, so I watched it again one rainy afternoon. What a difference a second viewing made. I recently saw it again on the big screen and my affections and appreciation for this film continues to grow as the film continues to reveal itself and I understand it more. Unlike many, I do not see this film as a love story between to men but rather view the central relationship as just one of the films many elements the director uses to show the individual and solo aspect of life that each of us faces. Family relationships, romantic love, professional relationships, random people that come and go in our lives, and through differing cultures, are all used to illustrate this central theme. The acting is wonderful, the characters unique and interesting and the cinematography and score all combine to create a beautiful and powerful, and haunting experience. Happy Together is not an easily accessible film and for the viewers who saw this film and liked it or disliked it, I encourage a second viewing. Happy Together really is a wonderful and moving film well worth the time and challenge.

Relevant No Matter the Decade

[ybredad · 7/10 · 14 November 2020]

This has been on my watchlist for years now. So glad I watched it today. Today. Because there is so much disfunction in our relationships that it can be so overwhelming. These relationships can be life's tools for becoming stronger and Tony Chiu-Wai Leung's character Fai shows you how you do that...move past the disfunction. Leslie Cheung's antagonist invokes sympathy even as he pushes Fai to the brink. Loved him in "Farewell My Concubine" as well.

An overall wonderful film that is relevant no matter the decade.

WKW's best

[devil_bkoo · 10/10 · 30 June 2008]

This film is one of my favourite and it is the first Wong Kar Wai film I saw. It left an indelible impression on me by its strong and original cinematography, unbelievably humane characters, persuasive and brave acting and a moody soundtrack. Adding a beautiful Buenos Aires as backdrop, all those add up to a truly outstanding movie and to me it is WKW at his best (on par with "2046"). It is a film which truly touches the mind and soul and goes deep into what a relationship takes.

Not much comment on the plot because it is so realistic and resembles a well-captured life documentary of the two gay men venturing abroad. As it is now clear, WKW makes different films simply to manifest his same vision on love again and again: intense but sparse happiness enjoyed by lovers is inevitably accompanied by long term emotional pains and losses, and when the couple separates, the despair and memory haunt them forever. However, 'Happy Together' adds extra dimensions to that familiar theme: firstly, the relationship is homosexual so the day-to-day interaction between the characters is a bit fresher and secondly, the alienation felt by the two guys in Argentina and the desire by Yiu Fai to live a new, and better, life drives the movie forward. The optimism showed at the end of the movie is a rare but welcome breather from his heavier films like "In the Ashes of Time", "In the Mood for Love" and "2046", where the despair is total and insurmountable. Also, as the characters have an end in mind (returning to Hong Kong), the storyline processes slowly but surely so that it adds a bit more fluidity.

I am surprised how little credit has been given to Leslie Cheung's role as Po Wing. Tony Leung's performance as Yiu Fai is excellent but comparing to him, Leslie Cheung is simply better. He is the soul of the film and many scenes would lose its impact if it is done by a less charming and charismatic actor (with the scenes of Po Wing hassling Yiu Fai to cook in the middle of the night, the tango dance in the kitchen, and where Po Wing showing his vulnerability after being beaten by his client). Knowing he is homosexual in real life does not take away any of his achievement of playing Po Wing exactly like it should be. His performance here is arguably as well as he did in "Farewell My Concubine".

It makes me want to see the Iguaçu Fall.

Beautiful ending compensates for a messy start

[mariusgsc · 7/10 · 13 October 2022]

Wong Kar-Wai film about a homosexual couple stranded in Argentina wavers for a long time before actually finding out what story it wants to tell. Soaked in Sepia-filters, Wong Kar-Wai runs in circles, always shooting the same tiresome scenes in their little apartment in different variations, without finding a way out of his quite messy build-up. Films about toxic relationships aren't easy to make: the director has to walk the thin red line between making it believable and making it watchable. Here, the director is a bit too much in love with his blurry visuals, the almost drunken camera, endlessly turning around the two fighting lovers.

As soon as the film reaches the point where you start to wish for the actual story to start, Wong Kar-Wai grants you exactly that wish: the lovers separate, and the camera follows the protagonist as he tries to heal from a broken heart, but also from the damage the relationship has caused. Driven by lust as well as loneliness, we follow him as he wanders the benighted streets of Buenos Aires, searching sexual satisfaction but also searching - and finding - new friends.

After sitting through the first 30-40 minutes of the film, Happy Together rewards you with poetic scenes of incredible beauty, portraying a desire to be loved on screen that will assuredly resonate with you, regardless of whether you've lived something similar or not.

The film's last half hour will leave you in awe as the protagonist's mind wanders, missing home and wondering what Hong-Kong might look like upside down in one of the most original scenes of Asian cinema. The last scene eventually fully compensates the messy start.

The means used spoil the end product

[jonr-3 · 4/10 · 25 April 2004]

This movie should win an award for Most Ironically Titled Film.

The story of this extremely dysfunctional gay couple is a moderately interesting one; it's well told, despite major distractions (see next paragraph); the acting by all concerned is extraordinarily convincing, and if I were judging acting alone I'd vote this one a "ten." But I could only vote a "four" because of the horrendously off-putting visual component.

Why, oh why, do directors, even skilled directors like Mr. Wang Kar-Wai, insist on using all the gimmicky tricks available to them, and decking out their films garishly and awkwardly so that the viewer is distracted from everything but the flashy and quickly tiresome images on the screen? It was bad enough to employ alternation of black-and-white and color, but when we are finally rewarded with color (and for some reason, though I'm a black-and-white-film fan, I felt that this entire movie should have been in color--maybe only as some relief from the drabness of the relationship depicted), the color has to be altered, saturated, the images made grainy and/or overexposed, etc.?

I feel the technical aspect of this film constitutes a severe disservice to the work of two exceptionally fine actors--three, if you count the brief appearance of Chen Chang, who is perfect as the young, bored, but very sweet and good-hearted tourist whom the protagonist may or may not see more of later.

What a missed opportunity. It's a pity that one of the strengths of film--the enormous range of technique it lays at the disposal of creators--is also all too frequently a seductive trap.