Chungking Express & Fallen Angels: A Double Feature Review

Article by Robbie Fleming

When I was first introduced to Wong Kar-Wai in 2021 by a close friend, the first two films I watched were Chungking Express (1994) and Fallen Angels (1995). Although Wong has never officially linked the two, I always associate them together. Fallen Angels was initially conceived as part of Chungking Express before it evolved into its own separate story.

For this second installment of my Double Feature reviews, I’m diving into both films and why I consider them hidden gems for film buffs, even if they may not resonate with everyone. Let’s start with Chungking Express.

Chungking Express (1994)

Director: Wong Kar-Wai

Studio: Jet Tone Production Co., Ltd.

Chungking Express came into being during a break from Wong Kar-Wai’s work on his Wuxia film Ashes of Time. Seeking a change of pace, he aimed to create something light and contemporary. The film features two intertwining love stories: one follows a cop (played by Takeshi Kaneshiro) who falls for a mysterious drug mule (Bridgette Lin), and the other centers on a different cop (Tony Leung) who catches the eye of a quirky snack bar worker (Faye Wong). Themes of love, loneliness, and longing are explored with a sense of fluidity and spontaneity, as Wong would often write the script a day before shooting, allowing the actors to develop their characters through improvisation.

The standout element of Chungking Express is its stunning visual style. Cinematographers Andrew Lau (who shot the first story) and Christopher Doyle (who shot the second) bring Wong’s vision to life through their breathtaking cinematography. The film’s lighting, framing, and overall aesthetic are nothing short of mesmerizing, making it one of the most visually captivating films I’ve ever seen.

What really sets Chungking Express apart is its dreamlike quality. The film’s ethereal vibe, paired with Wong’s unique approach to capturing Hong Kong’s gritty, urban atmosphere, gives it a raw yet intimate feel. This blend of dreaminess and authenticity became a defining feature of Wong Kar-Wai’s style in subsequent works.

Another notable aspect is the film’s use of pop music, which has become one of Wong’s trademarks. The carefully chosen needle drops are used at just the right moments to enhance the emotional impact of each scene. The repetition of certain tracks might be off-putting for some, but I find that Wong’s intentional repetition doesn’t feel overly redundant.

As for the two stories, while I appreciate both, I found the second one to be far more compelling. I’m not sure if it’s because of the strength of the writing or if it’s simply Tony Leung and Faye Wong’s incredible performances, but their chemistry and emotional depth elevate the film. While Takeshi Kaneshiro and Bridgette Lin give solid performances in the first story, it’s the warmth and charm of Leung and Wong that truly resonate.

In summary, Chungking Express is a visually and emotionally rich film, thanks to Wong Kar-Wai’s direction, exceptional cinematography, iconic needle drops, and standout performances. Though the first story doesn’t capture me quite as much as the second, it remains an underrated gem that deserves more attention. I’d rate Chungking Express a 9/10 and give it 4 out of 5 stars. It’s a film that should absolutely be taught in film schools.

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Fallen Angels (1995)

Director: Wong Kar-Wai

Studio: Jet Tone Production Co., Ltd.

One year after Chungking Express, Wong Kar-Wai took what was originally meant to be its third story and expanded it into a standalone feature: Fallen Angels.

This was actually the first Wong Kar-Wai film I ever heard of, thanks to YouTuber Karsten Runquist, who listed it as one of his favorites. Fallen Angels features two interwoven storylines: one follows a hitman (Leon Lai) who wants to leave the criminal underworld, his infatuated agent (Michelle Reis), and a prostitute (Karen Mok) he becomes involved with. The other story centers on a mute ex-convict (Takeshi Kaneshiro) on the run from the police and a mentally unstable woman (Charlie Yeung) who’s struggling after being dumped by her boyfriend.

Since its release, Fallen Angels has amassed a dedicated cult following and is notable for being Wong’s last film shot entirely in his native Hong Kong before he transitioned into more ambitious international projects. While I think it’s a well-made film, I don’t love it as much as some of Wong’s other work.

Visually, however, it’s absolutely stunning. If Chungking Express established Wong’s signature style, Fallen Angels refined and amplified it. The film is even more colorful and explores the grittier, neon-soaked nights of Hong Kong. Cinematographer Christopher Doyle once again delivers striking, unique shots—one of the most memorable being a breathtaking closing sequence featuring a motorbike ride through the city. Some of these moments contain some of the best camerawork I’ve ever seen.

The film’s music is another highlight. It effectively enhances the dark, atmospheric tone, with well-placed needle drops that make the experience even more immersive. The best of these is a haunting cover of Only You, which plays during the final moments, giving the ending a distinct, almost iconic feel.

Where the film falls short for me is in its characters and storylines. While Wong’s dialogue is well-written and thematically rich, I found it harder to connect with the characters compared to Chungking Express. The fragmented storytelling style—jumping between different characters—makes it feel more detached, almost like we’re observing these people from a distance rather than truly immersing ourselves in their world. Additionally, while the performances are solid, none of them stand out in a way that truly elevates the material. Perhaps it’s the absence of Tony Leung, but I didn’t feel the same emotional pull as I did with Chungking Express.

While Chungking Express felt grounded and relatable, Fallen Angels is more stylized and voyeuristic. It succeeds in creating a visually dazzling, dreamlike atmosphere, and I’ll admit it surpasses Chungking Express in terms of cinematography and bold aesthetic choices. However, I found myself less invested in its characters and narrative.

That being said, I understand why many consider Fallen Angels one of Wong’s best. It’s a masterfully crafted film, and its impact on cinema is undeniable. But for me, it doesn’t quite reach the emotional heights of his other work. Still, it’s a great film, just not one of my personal favorites. I give Fallen Angels a rating of a 4 out of 5 stars and a 8/10

Thanks for reading! If you haven’t seen these two films, I highly recommend checking them out. And if you have, I’d love to hear your thoughts—did you prefer Chungking Express or Fallen Angels?