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| Days of Being Wild |
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List Price: $29.95
Buy New: $17.21
You Save: $12.74 (43%)
Buy New/Used/Collectible from $15.09
Avg. Customer Rating:  (based on 5 reviews)
Sales Rank: 24003
Category: DVD
Director: Kar Wai Wong
Publisher: Kino Video
Studio: Kino Video
Manufacturer: Kino Video
Label: Kino Video
Format: Closed-captioned, Color, Subtitled, Widescreen, Ntsc
Languages: Cantonese Chinese (Original Language), English (Subtitled)
Rating: Unrated
Media: DVD
Running Time: 94 minutes
Number Of Items: 1
Aspect Ratio: 1.85:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
UPC: 738329038021
EAN: 0738329038021
ASIN: B0002X7GWU
Release Date: October 19, 2004
Theatrical Release Date: November 30, 1990
Availability: Usually ships in 1-2 business days
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Customer Reviews:
 Hot November 1, 2005
6 out of 7 found this review helpful
Contrary to other reviewer's notions of the film, "Days of Being Wild" does have a plot. The movie is a tale of existential angst. Stephen Teo places the movie in the area of quasi gangster cum romance. In short "Days of Being Wild" is, in the tradition of "Rebel without a Cause" an `ah fei' movie - a story of lost youth. A large portion of the movie centers on dysfunctional relationships and each and every character's existentialist angst. A really short synopsis follows. The movie is set in 1960s. Leslie Cheung plays the lead character of Yuddy - a self destructive narcissist who constantly hurts women.
In this movie, much like "Ashes in Time" the target of his self destruction is Su Lizhen (Maggie Cheung). As previously stated, the film centers on the youthful, Yuddy, who learns from the drunken ex-consort who raised him that she not his real mother. Yuddy's real mother has left him in her care and moved to the Philippines. Much of the story is situated around Yuddy's need to go to the Philippines to see his mother. I would assume that the lack of connection to the mother is part of the motivation for Yuddy's `early object loss' and hence his inability to connect with either Su Lizhen or Lulu (a character who will show up again in 2046). Yuddy's "auntie," hoping to hold onto him, steadfastly refuses to reveal the name of his real mother. The revelation, predictably, unsettles Yuddy to his very center, unleashing a cavalcade of irreconcilable emotions.
Two women form the two pillars of Yuddy's existential angst and not surprisingly have the bad luck of falling in love with Yuddy. Similar to Tomas - the main character of Milan Kundera's "The Unbearable Lightness of Being" Yuddy cannot settle down and is stuck (at least in his head) in the liminal space of both/and. Yet, the reality is that he is trapped in the world of either/or and not both/end. Just as Tomas cannot have Sabina AND Teresa, Yuddy cannot have both Su Lizhen AND Mimi. Both are beset with choices.
On the one hand, we have Su Lizhen (Maggie Cheung) who works at a sports arena selling refreshments at a kiosk. On the other hand, juxtaposed against Su Lizhen's `plainness' (if we can ever call Maggie Cheung `plain') is the persona of the glitzy showgirl Lulu or Mimi. It is clearly `early object loss' that leaves Yuddy cold. As Lizhen slowly intimates her deep hurt over what is happening to her and Yuddy to Tide (Andy Lau), Tide begins to fall for her. The same, it is argued, might be said for Yuddy's Sancho Panza - Zeb (Jacky Cheung). Zeb find himself falling in love with Lulu. Yuddy learns of his birth mother's whereabouts and heads out to the Philippines. In the Philippines, he meets up with Tide and they encounter thugs who - not impressed with the `ah fei' Yuddy, well, do him in. The last minute appearance of Tony Leung seems like a setup for the next movie... too bad we have not had the pleasure... yet?
The movie may be all about Leslie Cheung but we should not forget the performances of Maggie Cheung, Carina Lau, Andy Lau, Jacky Cheung, and Rebecca Pan. Despite the characters circling around the Yuddy character - each brings a dimension of their own into the movie. The strength, it is often argued, of Wong Kar Wai's movies is his highly developed (or undeveloped, yet very deep) characters.
Par for the course, just like all his other movies, "Days of Being Wild" is visually stunning. Working with Christopher Doyle, 1961 Hong Kong comes to life. As a Filipino abroad, I could not help but feel nostalgic when the movie shifted to the Philippines. I know that 1960s in the Philippines was one filled with cars and urban centers and not only the lush jungle scenes that fill the mise-en-scene. Who cares... it is only a movie and a good one at that. The movie draws from all angles for its greatness - the characters, the acting, the mise-en-scene, the cinematography, the whole ball of wax. The movie can be analyzed on many levels and I fail to do that here. However, on one level, like voyeurs we watch Yuddy's self destruction and enjoy the cathartic element of the `ah fei.' Bravo Wong Kar Wai! One more movie please!
Miguel Llora
 lush cinematography, but many slow spots... October 4, 2005
2 out of 6 found this review helpful
I definitely preferred KWW's "In The Mood For Love," though this film shows a lot of promise: gorgeous cinematography, gorgeous cast, very lively camera movement, beautiful and affecting soundtrack, offbeat stories and characters.
The central character is basically the opposite of every dickless, stereotypical Asian computer nerd you've ever seen in the usual Hollywood trash movies, even flirts a little with the Byronic hero model. There's a clumsy attempt at lyrical existentialist philosophizing here and there but nothing too heavy handed a la Spielbergian.
It would've been much, much better with a competent film editor who could cut out about 25% of the film to make it flow more smoothly and briskly, though.
...in all the wrong places... November 20, 2004
28 out of 31 found this review helpful
Days of Being Wild, Wong Kar-Wai's 1991 film, followed his 1988 As Tears Go By and solidified his style. In turn he made these two films after a couple of intriguing, unconventional swordsman-warrior films. It's easy to see why he's now regarded as one of the top Chinese directors; both his subjects and style are unique and captivating.
In Days of Being Wild he casts some of the best young Hong Kong actors then and now--Leslie Cheung, Maggie Cheung, Andy Lau--in a tale of those who look for love and never seem to find it. Or at least not for long at all. When a completely reckless Don Juan type teases a beautiful stadium ticket taker, promising her at their first meeting he'll always remember her for the minute they shared, this is enough to seduce the lonely girl into falling for him, only to have him callously dump her when she asks him to marry her.
While she finds solace by talking to a street cop, the womanizer hooks up with a semi-sleazy dancehall girl, meanwhile roughing up his aunt's suitor for the attempted theft of her pearl earrings. His aunt chides him for driving away her older suitor, yet stoically accepts what he's done; she needs him more than her suitor. She raised him when his mother abandoned him and now is more attached to him than she realized.
The cop leaves his job and becaomes a sailor. The womanizer leaves town and hooks up with the sailor, completely coincidentally. Meanwhile the ticket taker girl and the dancehall girl find their own ways without the love they need, just as the sailor has done, trying to forget the ticket taker with whom he fell in love, never hearing from her, causing him to abandon his street, his town, and put out to sea.
The parable of a legless bird, the womanizer's fictional tale he uses in his seduction ploys, is one that frames this lyrical piece of filmmaking. The endpieces of lush jungle greenery--hundreds of thick palm trees--accompany the voiceover narration of this tale. The completely offbeat music, ranging from salsa to slow romantic dance music--competely Western--to quirky pizzicatos and glissandi, is similarly accompanied by Chris Doyle's assured cinematography. This was the first major Hong Kong film shot by Doyle and his rich style, embracing a wide spectrum of colors and tones is much in evidence, making this, as already noted, a truly unique cinematic experience.
In fact, WKW's collaboration with Doyle here is so complete, careful, well thought out, and subtle, that it would be impossible to imagine one without the other. So too is the use of the completely Western soundtrack. Set in 1960s Hong Kong, the feel of the era is effortlessly captured, also adding to the atmosphere of this rich film.
This is a landmark film in that, for its time, almost 15 years ago, it focused on aspects of life not previously shown in Hong Kong film and was an obvious departure from the martial arts movies American audiences expected from that part of the world. The advent of not only WKW but a number of 4th, 5th, and 6th generation directors from China and HK can easily count Wong Kar Wai as one of its breakthrough filmmakers. And this film is more than ample proof of that.
Loneliness, sadness, restlessness, lust, longing, emptiness. A film that resonates.....
Definitely recommended.
Stellar October 12, 2004
12 out of 12 found this review helpful
A throwback to 1960's Hong Kong and an essential example of Wong Kar-wai's direction, "Days of Being Wild" is a must-see with its superb casting, camera work, and soundtrack. Leslie Cheung plays Yuddy, a reckless womanizer seeking the identity of his real mother. Andy Lau and Jackie Cheung fall for Leslie Cheung's discarded lovers--Su Lizhen (Maggie Cheung) and a dancer called Mimi (Carina Lau). With fine performances all around, "Days of Being Wild" portrays heartbreak and longing as it draws viewers into its moody atmosphere. Arty and worthy of multiple viewings.
Carina Lau and Leslie Cheung light up the screen! October 12, 2004
4 out of 9 found this review helpful
This is truly my top 10 favoite films of all time. I have become a loyal fan of Carina Lau after seeing her mesmerizing performance opposite the equally captivating Leslie. They had so much chemistry in this film. Ms. Lau had won best actress at the Nantes International fim festival, and it was trully disappointing to see her failed to win at the HK and Taiwan film award, because she totally conqured the role of a passionate and volatile exotic dancer in this film. She had to dance, cry a bucket of tears, a few steamy scenes with Leslie and a major catfight with the rather low key Maggie Cheung. Rebbeca Pang also gave a scene stealing performance as the guardian of the rebellious Leslie. The music, acting, and colours is perfect. It's a must see for artfilm fans!
The story of this film is about "I love him, he doesn't love me, and someone else loves me." It's about Yuddy(Lelie Cheung) and the 3 women and 2 friends in his life, and it takes place in HK in the 1960's.
Yuddy meets Sue Li-Zheng(Maggie Cheung) at the grocery store, and proceeded to seduce her. He said to her," You will remember from this minute on...". Sue was intrigued, and they became friends, and very soon she moves in to the bad boy's place. She fell in love with him and wanted to get married, but gets rejected. Yuddy told her that he's not the marrying type. She packed her stuff and took off.
Upon seeing his step-mom or guardian's hustler boyfriend "stealing" her earrings, Yuddy shouted and beat the guy up. His step-mom, a former courtesan(Rebecca Pang) totally drunk, lying in bed, was pissed off to see Yuddy's behavior. He tells her," Why would he why to be with you if not for your money?! How old is he, and how old are You?!" Yuddy doesn't treat her with any respect, because she's been withholding his parent's identity. She was paid not to tell.
Yuddy then picks up Mimi-lulu(Carina Lau), a sexy and glamourous club dancer. he seduced her with the pair of earring that was taken back from the hustler. She went home with him, but was not prepared to go to bed. He manipulated her to do so by tickling her and kissed her when she almost lost her breath. The following morning, she leaves her number for him to call. She jokingly told him that if he doesn't call, then she'd do something nasty. He got very angry, and still managed to tame her.
Yuddy's buddy(Jacky Cheung) had a crush on Mimi. On her way home, he flirted with her. Mimi danced for him when he asked what she did for a living. He asked her to encore when he pretended not guessing her occupation. She said,"you think I am stupid?"
Eventually, Mimi fell in love with Yuddy. Meanwhile, Sue was becoming a good friend to a cop(Andy Lau) who patrolls the streets. She found solace by sharing her thoughts with him. He told her to get over Yuddy. He's falling for her slowly.
Mimi provoked Yuddy again when she suggested to that she would make more money if she goes to work in "The Oriental" as an hostess, so that she can provide for him since he didn't work. He kicked her out, because he fell cheap. Mimi went to the grocery and demanded Sue the truth. She scremed at Sue until she lost control and broke down into tears. Sue told her that he treats every woman the same. Mime told her that at least he "dumped you for me".
Yuddy finally got the information from his step-mom after endless fights to convince her. She had been afraid of losing him, but she doesn't care anymore, because she's about to move to US to be with a rich old man.
Yuddy's buddy showed up at the bar to meet Mimi. She was disappointed that it wasn't Yuddy. She smashed a vast at the mirror when he told her that he's in Philipines. Later, he sold the car that was once Yuddy's, and gave the money to Mimi so that she could go find him. She was so moved when he told her to come back to him if she can't find Yuddy. She broke down into massive tears.
Yuddy was very disappointed when he was rejected to be meet his mother. He fell unwanted and left in rage. The cop became a sailor and ran into Yuddy in a hotel. He asked Yuddy if he still remembers the one-minute friendship thing he told a woman once. He said," If I have to remember, I'll always remember." Yuddy got in trouble for getting a fakd ID for US, and got shot by the underground gangsters. The cop was by his side as he tells him about a bird without legs...
Carina Lau went to the Phillipines to find Yuddy, and she checked into the same hotel, but Yuddy had already "left". Tony Leung shows up as a camero for the final scene that had nothing to do with the movie. Maybe it's the intro for the unborn sequel or In the Mood for Love. He was getting all dressed in suits and well-groomed for a night out. The sequel was not made and Mimi-lulu was reprised by Carina Lau in 2046.
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