[A] brilliant examination of one-way love and crashed relationships.
Days of Being Wild (1990)
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Reviews Counted:29
Fresh:26
Rotten:3
Average Rating:7.7/10
Theatrical Release:Nov 19, 2004 Limited
Box Office: $18,090
Synopsis: DAYS OF BEING WILD is the film that started it all for auteur art film director Wong Kar Wai, exhibiting many of the preoccupations and devices that would characterize his work throughout his... DAYS OF BEING WILD is the film that started it all for auteur art film director Wong Kar Wai, exhibiting many of the preoccupations and devices that would characterize his work throughout his career until the present time. The precise, almost melodic slowness of the pacing is reflective of the existential conundrum in which the characters are mired, offsetting the random, fleeting nature of the glimpses of love they are afforded. The first film in Wong's oeuvre that is a product of his happy alliance with cinematographer Christopher Doyle, it is a film of chance, the persistence and terrifying weight of time and memory, and the fortuitous accident that passes for love. Leslie Cheung stars as Yuddy, a vain, sexually predatory orphan whose mother abandoned him with her prostitute sister when he was very young; today, he lackadaisically searches for his birth mother while living his layabout lifestyle funded by his put-upon aunt. He approaches Lai (Maggie Cheung), a snack bar clerk, who rejects him but is haunted by Yuddy's classic line that they were friends for exactly one minute on that exact date; although realizing that he will never care for her she continues to pine for him, turning for solace to a cop (Andy Lau) who duly falls in love with her. Yuddy moves on to Mimi (Carina Lau), a beautiful cabaret dancer who is ultimately unable to maintain her tough facade when she falls for Yuddy; her vulnerability draws in Yuddy's best friend (Jackie Cheung), who idolizes him and is rejected by Mimi. The soap-opera quality of this web of love serves to illustrate the uncontrollable nature of emotions and the fact that they are governed by coincidence, underscoring the rather bleak existentialism of the film. However, the humanity depicted in the actors' stunning performances, and the dreamlike nature of the sequences that effect the impression of memory, redeem the seemingly unredeemable characters. [More]
Starring: Leslie Cheung, Andy Lau, Maggie Cheung, Jacky Cheung
Starring: Leslie Cheung, Andy Lau, Maggie Cheung, Jacky Cheung, Alex Man, Carina Lau, Tony Leung Chiu-Wai
Director: Kar-Wai Wong
Director: Kar-Wai Wong
Studio: Kino International
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Reviews for Days of Being Wild
Raw and jagged, only hinting at the greatness that would come. But even imperfect Wong Kar-Wai is better than the best of most.
In many ways, Days of Being Wild anticipated the overall pattern of its writer-director- auteur's haunting career.
Twelve years after first seeing Days of Being Wild, I’m finally developing some fondness for it.
Every shot is perfectly composed and compelling, with light and shadow manipulated to maximum effect.
A plotless gangster story is a nearly impossible paradox to pull off, however intelligent the underpinnings of the film.
It's inexplicable that Wong's early masterpiece has been virtually absent from American screens since he completed it in 1991.
It may have been released in the olden days of 1991, but Wong Kar-Wai's Days of Being Wild remains pulsatingly contemporary.
Needless to say a must-see for Wongcolytes, Days of Being Wild is also an excellent entry point for people who haven't yet caught this most exotic and habit-forming of cinematic bugs.
Arguably this is the key movie in Wong's oeuvre, as startling in its context as Hiroshima Mon Amour and Breathless were in theirs.
The ‘60s were a time of alienation and sadness, which I suppose Wong was trying to reflect here. But he’s chosen characters so monumentally self-destructive that it’s difficult to care about them.
Wong's always-striking visual style uses floating, neon colors and extreme angles to emphasize disconnected souls.
It goes to show that "average" Wong Kar-Wai is better than just about anyone else on a good day.
Wong creates a dream state of shifting, stalling, liquid time, a kind of gauzy unreality that made In the Mood for Love so seductive.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 82% 82% | Paranormal Activity |
| 58% 58% | 9 |
| 44% 44% | Jennifer's Body |
| 58% 58% | A Perfect Getaway |
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