In 1960 Hong Kong, Yuddy, a smooth-talking playboy, seduces South China AA box office attendant Li-zhen but is uninterested in a serious relationship, leaving her heartbroken. He moves on to a new relationship with vivacious cabaret dancer Mimi. Yuddy's friend Zeb is also attracted to Mimi, but she does not reciprocate his feelings. Yuddy has a tense relationship with his adoptive mother Rebecca, a former prostitute, who has long refused to reveal the identity of his birth mother.
Li-zhen finds solace in Tide, a policeman who does his rounds near Yuddy's apartment. Tide dreams of being a sailor but chooses to be a policeman so that he can stay and look after his ailing mother. Li-zhen talks about her failed love affair, her successful cousin's impending marriage and how she misses her home in Macau. She promises Tide a free ticket to a football match of his choice, and Tide tells her to call him on a phone booth he passes every night if she ever needs anyone to talk to. Their near-romance never materializes. After his mother dies, Tide leaves Hong Kong to become a sailor.
Rebecca eventually relents and tells Yuddy that his birth mother lives in the Philippines. Yuddy leaves to find her, giving his car to Zeb and without informing Mimi. A distraught Mimi resolves to follow him. Zeb, his love still unrequited, sells Yuddy's car to finance her trip and asks her to come back to him if she does not find Yuddy. Yuddy finds his mother's house but she refuses to see him.
Tide, on a stopover in the Philippines, finds a drunk Yuddy passed out on the street and brings him to his hotel room. Yuddy does not recognise him but accepts his assistance. He gets into a fight at the railway station over payment for a fake American passport and stabs a man. Tide saves him and they escape aboard a train. Tide asks him if he recalls what happened on 16 April 1960 at 3 p.m., which Yuddy asked Li-zhen to remember at the start of their courtship. Yuddy says that he does, but tells Tide it would be best to tell Li-zhen that he does not. Tide returns from a conversation with the train conductor to find Yuddy shot to death.
A final sequence shows Mimi arriving in the Philippines, Li-zhen closing up at the ticket stall and a phone at the booth ringing. The movie ends with a shot of a slick young man, smoking and readying himself in a darkened room.[a]
Andy Lau as Tide (Chinese:超仔; Jyutping:Ciu1zai2; pinyin:Chāozǎi), Policeman 6117, who becomes a friend and confidant of Su Li-zhen and later, after the death of his mother, he becomes a sailor and goes to the Philippines
Rebecca Pan as Rebecca, a former prostitute who raises Yuddy, has a love-and-hate relationship with Yuddy, because she refuses to reveal the identity of Yuddy's biological mother
Jacky Cheung as Zeb (Chinese:歪仔; Jyutping:Waai1zai2; pinyin:Wāizǎi), Yuddy's friend since childhood; Yuddy used to live above Zeb's family's garage as a kid; Zeb fancies Mimi/Lulu
Danilo Antunes as Rebecca's lover, who only goes for her money
Xavier Cugat, "Perfidia", "María Elena", "Jungle Drums", "My Shawl", "Siboney"
Leslie Cheung performed the song 何去何從之阿飛正傳 loosely translated as 'Choice' or 'The True Story of Ah Fei' as the film's theme song and it is also found in his album Beloved (寵愛).
梅豔芳 (Anita Mui) – 是這樣的 – the Cantonese cover of the theme song and is featured at the end of the film during the credits.
Box office
Days of Being Wild grossed HK$9,751,942 in its Hong Kong run,[6] a number that would become typical for a Wong Kar Wai film. With the starry cast, this figure was considered a disappointment. Still, the film was successful enough to warrant a parody (The Days of Being Dumb, which also featured Tony Leung and Jacky Cheung), and now routinely tops Hong Kong critics' lists of the best local productions.
Reception
On review aggregatorRotten Tomatoes, the film has an approval rating of 91% based on 32 reviews, with an average rating of 7.70/10. The website's critical consensus reads, "Days of Being Wild uses a young man's struggle to come to terms with a family secret as the foundation for a beautifully filmed drama with a darkly dreamy allure".[7] On Metacritic, the film has a weighted average score of 93 out of 100 based on 21 critic reviews, indicating "universal acclaim".[8]
The South Korean director and critic Park Chan-wook called Days of Being Wild "an enigmatic and trancelike fantasy" set in the early 1960s.[10] Park argued that Days of Being Wild was a metaphor for the return of the British colony of Hong Kong to China, which was planned for 1997.[10] The return of Hong Kong caused deep fears as many Hong Kongers feared that the relative liberties that existed under British rule would end under the rule of the People's Republic of China. Park noted that much of the film is set at night and that many scenes are dimly lit, which created a dark mood for the film.[10] Likewise, Park noted that much of the Days of Being Wild takes place in claustrophobic rooms and trains, which was a metaphor for the limited future possessed by the characters.[10] He noted that all of the characters look backwards to the past rather than forward to the future as Yuddy is obsessed with finding his Filipina mother he never knew; Li-zhen is equally obsessed with remembering 3 pm 16 April 1960, which is the precise moment she met Yuddy; Tide cannot forget his short-lived quasi-romance with Li-zhen; Fung-ying can not give up her love for Yuddy; and Zeb holds on to his friendship with Yuddy despite the way he treats him.[10] In a similar way, all of the characters end the film on an unhappy note. Yuddy's mother rejects him and his trip to the Philippines leads to his murder; Fung-ying goes to the Philippines to find Yuddy, unaware of his death; Zeb is rejected by Fung-ying; and Tide and Li-zhen are unable to reconnect.[10] Park argued that the way that the characters cannot look forward to a better future and are instead obsessed with the lost world of the past reflected the sense of despair at the heart of Days of Being Wild, as the film is suggesting that Hong Kong had its best days in the 1960s and there is no bright future for Hong Kong once the planned return to China occurred.[10]
The American critic Jonathan Rosenbaum wrote about Days of Being Wild: "Wong Kar-wai’s idiosyncratic style first became apparent in this gorgeously moody second feature (1990), whose romantic vision of 1960 Hong Kong as a network of unfulfilled longings would later echo through In the Mood for Love...As critic Tony Rayns has noted, it’s “the first film to rhyme nostalgia for a half-imaginary past with future shock.”".[11] Rosenbaum noted that the similarity between Yuddy and the type of characters played by James Dean, and that when Dean's last film Rebel Without a Cause (1955) was released in Hong Kong, it's title in Cantonese was Days of Being Wild.[11] Rosenbaum noted that the "puzzling coda" of an ending with an young man preparing going out was meant to be the start of a planned sequel, which was never made.[11]
Home media
The film debuted on the Blu-ray format for the first time in the United States on March 23, 2021 in a collection of 7 Wong Kar-wai films by the Criterion Collection.[12]
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