Violence Blossay

 THE BIG BOSS: Are humans in control of their violent actions?

In the Big Boss (1971), Cheng, played by Bruce Lee, is introduced as someone who has committed many violent acts in their past. Wearing his mother's amulet, Cheng swears to his uncle that he will stop fighting. Later, we see that Cheng only resists getting in a fight with bullies thanks to his amulet. Already, Cheng is presented as a character whose first instinct is to act out of violence, and seems to physically struggle when he cannot. There is also the larger question of why Cheng has come to work in Thailand. Can he simply not get work in China, or has his fighting forced him to change locations? This seems to indicate that Cheng's desire to commit violence is a primal urge, one that he can only overcome by physically and mentally restraining himself.

Later in the film, Cheng is forced to return to his violent ways, and turns the tide for the workers in the riot against the factory after losing his mother's amulet. Here, the true Cheng is revealed, and he becomes a hero by saving the other workers. Yet, Cheng is again shown to not be able to control his actions. Although he saves the workers, he undergoes a complete persona shift while fighting, seeming dangerous and chaotic. This shift in attitude becomes even more apparent later on in the film. After Cheng discoveres the factory's secret and the truth about his cousins death, he breaks into the factory at night to investigate. However, he is discovered by the factory's gangsters, including the Big Boss's son. In a fit of rage, Cheng fights his way out of the factory, violently disposing of the gangsters. Covered in blood, Cheng now awakened from his rage, stares at his fists, as if he cannot believe what they have done, rather than what he has done. This scene shows that rather than having control over his violence, Cheng's violence controls him. As his fists take over, Cheng becomes inhuman and surreal; his personality changes to that of a dangerous machine. Without his amulet, Cheng no longer has control over his violent actions.

At the end of the film, Cheng's violence culminates in his fight with the Big Boss, Hsiao Mi. Both are unable to avoid the fight; not simply for reasons of revenge but also for reasons of violence. The Big Boss's whole organization is run on violence. As the most violent, most successful fighter, he gains the top position. His authority is challenged when Cheng appears, forcing him to fight Cheng not only due to the loss of his son, but also to establish his superior ability. Cheng is also unable to simply exact his revenge by calling the police; as an immigrant he must physically show his strength and continue the cycle of killings in order to stop it. Thus, the showdown depends entirely on Cheng's primal, violent instincts. After defeating the Big Boss, Cheng falls limp; he is finally released from his fists' control. No longer having a purpose, he lets the Tai police take him away.

The Big Boss showcases Cheng's inability to fight against his violence urges. Rather than controlling his violence, his violence controls him. Cheng comes out on top in his social sphere thanks to his fighting ability, however his violence and the violence of others eventually leads to the downfall of everyone. As no one can control their violent tendencies, chaos descends.

SPRING, SUMMER, FALL, WINTER...and SPRING: Why are humans Violent?

In Spring, Summer, Fall, Winter...and Spring (2003, Kim Ki-duk) goes through the seasons of a young monk's life, and also follows the seasons of his violence, and the repetition of the cycle. From the very beginning of the film, we see that the child monk action's lead him to violence. This is shown through his play, where he ties rocks to a fish, frog, and snake. In doing this, violence is connected to the natural action of a child's play and exploration. Again, this shows violence as stemming naturally from a human. Thus, Kim Ki-duk shows that violence stems from human nature itself.

As violence has been established as human, it can only be removed by the inhuman. This is where the character of the master comes in. In order to train the young monk, the master ties a rock to the young monk while he sleeps, and tells him when he wakes that in order to be freed, he must remove the stones from all of the other animals. However, if an animal should be dead, the boy will carry the stone in his heart forever. When the fish and snake are dead, the boy learns the consequences of his actions and thus is presented in a way to curb his violence. However, this can only be accomplished by removing one's self from humanity.

However, in the boy's Summer, the path to violence is again presented in a natural context, showing that removing oneself from violent acts is difficult and requires the total removal from human urges. When a young woman arrives at the monastery for healing, the boy again is unable to control his urges. The two form a sexual relationship, and are later found out by the master. The master advises the boy,"lust leads to desire for possession, and possession leads to murder", stating that desire leads to violence, and that these human urges are therefore linked. In the end, the boy cannot resist his urges, and leaves the monastery to pursue the girl. By giving into his natural urges, the boy puts himself on the path to violence.

In Fall, having lived a lifestyle of giving into his human urges, the boy, now a man, is consumed with violence and anger. After returning to the monastery, he is revealed to have killed his wife after she cheated on him. However, his violence was not simply committed as a result of his wife's actions. Rather, the man was still unable to harness the violence that plagued him since his childhood. Thus, the man committed violent acts because he had rejected the means presented to him to control them, and thus, had no way of rejecting his own human nature.

It is shown that the only way that the man can reject his violence is to submit to his master's teachings. After writing the Heart Sutra and returning in the Winter of his life, the man focuses on and struggles against the stone within his heart that bares his violent deeds. However, the man is still not freed from his violence and seeks support from Maitreya's contemplative gaze. This is reinforced in Spring, when the man now watches as his adoptive child commits similar violent actions; the cycle is continued. This end of the film reinforces that violence is almost inescapable; as one learns how to resist their own violence, they must pass this on to their more human counterparts.

Overall, Spring, Summer, Fall, Winter and Spring shows violence as a natural urge, stemming from all including the young and the innocent. Thus, violent actions are inescapable without vigorous training to resist violence and desire. Without consciously attempting to resist violence, humans are unable to do so. Lessons about violence also can only be learned once violent actions have been completed.

CROUCHING TIGER HIDDEN DRAGON / MONKOKE HIME :What does Violence accomplish?

In both Crouching Tiger, Hidden Dragon (2000, Ang Lee), and in Mononoke Hime (1997, Miyazaki Hayao) violence serves as both a means to harm and as a mean to save. In both films, violence is necessary at times, yet dangerous and poisonous at others.

Jen, in Crouching Tiger, Hidden Dragon, draws the fine line between martial arts discipline and uncontrolled violent actions. Strung between the revengeful Jade Fox and and the honorable Li Mu Bai, Jen must make a decision as to whether she will use her skills honorably or not. If she is to become a true warrior, she must battle with honor. Although a warrior's battles must sometimes commit harm against other human beings, they do so only when necessary, and by controlling their violent urges and taking honorable actions. However, Jen strays away from this ethic by using the training of a warrior for unethical reasons, and thus, commits violence only selfishly.

Jen's violence is largely used in her confusion between freedom and honoring her family. As she cannot have both in her life, she uses violence to shape her own desires. However, Jen's violence only leads to further unhappiness in her life. Unjustly hurting Shu Lien after their fight, Jen loses both a friend and an ally. Her later actions lead to the death of Mu Bai. In the end, Jen's violence only results in further sorrow, and cannot solve any of the decisions in her life. The same is seen of Jen's master, Jade Fox. Unable to become a Wuxia warrior due to her gender, Fox commits murder in order to obtain a Wuxia manual. However, this only leads to unfulfillment, betrayal, and further violence.

However, Shu Lien and Mu Bai use their fighting style in a totally different manner. As warriors, they only commit violent actions when absolutely necessary. Even when Shu Lien defeats the then renegade Jen, she does not harm her, as she knows that Jen still hold the potential to be good. Mu Bai shapes his violent actions to benefit those around him, such as seeking revenge against Jade Fox, whom planned to murder Jen, and succeeded in killing Mu Bai. Had she been killed earlier, less violence would have resulted in the film.

Mononoke Hime character's have a similar reaction to the violence in their lives. As both the Forest and Iron Town struggle against each other for control of the landscape, both sides commit violence acts against the other. The forest spirits, gain in slowing the progression of Iron Town by harming villagers, but in the process, also lose the lives of their elders. And Iron Town, in destroying the homes of the spirits and killing their elders, also risk the lives of their inhabitants. Rather than compromise, both sides suffer.

This comes to a climax when the leader of Iron Town, Lady Eboshi uses her gun, the tool of violence to behead the Deer god. In doing so, she disturbs the cycle of life and death, and almost spells certain doom for both forest and Iron Town. Giving in to her violent urges, she has ignored the safety of all of her workers, and given in to her selfish desires. In the end, Lady Eboshi loses an arm herself, and must completely rebuild her home and livelihood. Rather than gaining from her violence, Lady Eboshi almost loses everything that she once held dear.

In both Crouching Tiger, Hidden Dragon, and Princess Mononoke, it is apparent that violence laregly does not result in success. Rather, the one committing the violent acts can only worsen their situation, and may even harm themselves or others in the process. Only those who commit violent acts to protect benefit, and even then, still may face repercussions from their actions, or even death. Overall, it is apparent that violence largely leads to tragedy.

Spring, Summer, Fall, Winter...and Spring examines the concept as a natural stemming urge, tied to humanity's instincts and desire. Without a way to control it, it is shown to take over a young monk's life. This is certainly true for Cheng in The Big Boss, whom is controlled by his fists. Unable to stop his own violence, nor others violence before harm can be done, Cheng loses his family and home. Finally, in Crouching Tiger, Hidden Dragon, and Mononoke Hime,violence is shown to only be of use for protection, usually leading to unhappiness and failure. Thus, violence is a bane upon humanity, but also innate to it. Without dedication and diligence, one may be controlled by their own fists.

(not quite sure why this changes formatting int he middle of the post, haha)

Rashomon, Ikiru-Review

 After watching Ikiru in class, I was struck by Akira Kurosawa's directing style and Shimura Takeshi's acting. Due to the distinctive nature of Ikiru, I was curious to examine what aspects's of Kurosawa's directing changed depending on the plot and stylistic choices of the film. To provide a means to that end, I chose to review the film Rashomon. While Ikiru was viewed very favorably, Rashomon was the film that began Kurosawa's international career. Rashomon was released in 1950, while Ikiru was released in 1952. I was also interested in Rashomon as Mizenko Sensei always spoke highly of it.

Rashomon's scenery is more minimalistic, drawing influence from silent films. Rashomon has only 3 different environments, the gate; Rashomon, the grove, and the imperial courtyard. Rashomon opens underneath the deteriorating gate, introducing the viewer to the woodcutter, priest, and peasant, all taking refuge from the rain. The woodcutter and the priest are both very distraught, consumed by the story of a notorious bandit, Tajomaru, charged for rape and murder. To pass the time, the peasant listens to them recount the different versions of events from each of the witnesses. Those present for the murder; the bandit, wife, and murdered samurai husband, all recount their plausible, but incompatible versions of the tale. Tajomaru recounts that he had a duel in which the husband was killed after the wife professed that could not live with the knowledge that two men of her dishonor. In the woman's version, she is rejected by her husband and hysterically kills him in her grief. Through a medium, the samurai tells his story, in which Tajomaru asks his wife to go with him. The wife agrees, but asks the bandit to murder her husband. Enraged, Tajomaru abandons her, and the man kills himself.

After the stories have been told, the woodcutter is overcome with grief and admit that he too, saw the events unfold. However, his story is also different. In his story, Tajomaru begs the woman to marry him, however she instead frees her husband, and spurs her husband and Tajomaru to fight each other, although they are both initially unwilling. Tajomaru seems to win the battle almost through accident, and then proceeds to cowardly kill the samurai whom begs for his life as the wife flees. At first seeming to be the most unbiased of all of the tales, the priest is quick to discover that the woodcutter had stolen a valuable dagger from the scene. Everything now seems more hopeless than ever, when suddenly, a baby's cries are heard . While the peasant seizes the opportunity to create more misdeeds by stealing the baby's clothing, the woodcutter redeems himself in front of the priest by adopting the baby into his already large family of six.

Rashomon asks questions about human perceptions and realities, and also of the nature of the human spirit. This is shown through the characters of the woodcutter and the priest. The woodcutter questions himself and his reality throughout the film; unable to even discern whether his version of events is true. The priest questions humanity; unable to decide whether humanity can really be 'good' or if everything is conducted out of selfishness. It is not until the end of the film when the priest sees the woodcutter with all of his flaws, but also as a human being capable of compassion that he reconsiders.

To me, this also brings up the question of how we should live our lives, which is also heavily focused upon in Ikiru. In Ikiru, Watanabe, after being shaken with the knowledge of his impending death, searches for meaning in his life, and finds it when he makes a difference in the lives of others. In Rashomon, The woodcutter and priest are similarly shaken, both questioning their perception of the world and human nature. In both films, we see that those whom selflessly give to others become more fulfilled and at peace. In contrast, those whom do not break the mold; Watanabe's selfish coworkers, the peasant, are able to provide only shallow happiness for themselves; they do not live a full life.

Rashomon's view of the human spirit is cautiously hopeful. Many of the characters in Rashomon are entirely selfish, and never act for the common good. It is revealed that even the woodcutter stole a valuable knife from the scene. However, his faults are revealed to not necessarily be 'bad', as the sale of the knife very well may have gone towards feeding his 6 children. When the woodcutter also chooses to adopt the baby that appears at the end of the film, restoring the priest's and the viewer's faith in humanity. The baby itself also marks the potential for positive growth in humanity, and the rain finally stops falling to reflect this.

Both Watanabe and the woodcutter are played by Shimura Takeshi, and both roles present a character whom struggles with their flaws, yet manage to live with them while

questioning and eventually bettering themselves. Although the transformation of the woodcutter is not as great as Watanabe's complete life perspective change, the viewer is nonetheless presented with an identifiable, human character whom now looks to find his place in the world. In making Watanabe and the woodcutter question themselves, Kurosawa asks the audience to question themselves, and challenge how they see their lives.

Rashomon's question of reality based upon perception is reinforced by its minimalistic scenery. With only 3 locations present in the film, the viewer is forced to become even more apparent of how the film itself distorts their perception of reality. This simultaneously makes the viewer pay heightened attention to the events of the film while also considering what they think to know to be reality. The characters in the film also also often masked in both shadow and light; both the dappled light shining through the trees and the mist from the rain help to conceal and break up the characters, helping to make the events of the film seem even more ambiguous, which also creates the same effect.

In Ikiru, the events of the film were presented much less ambiguously. Instead, the viewer followed the dogged Watanabe, becoming more involved in the events of his life than in their perception. For these reasons, viewers were made more susceptible to film techniques, rather than being made aware of them. This was also reinforced by the plot, where Watanabe is suddenly removed from the story, just as death is sudden.

However, in comparing these two films, we see that Kurosawa has excellent control over his viewer's perceptions and utilizes this depending on what aspect of the film he wants to emphasize.Through Rashomon and Ikiru, Kurosawa is able to tell a compelling story while also looking for self reflection from his viewers. By utilizing plot, cinematography, and set design, Kurosawa explores both the human and the story.

While Ikiru explored what leads to fulfillment in live, Rashomon explored how the human character changes how one sees the world. By doing so, it also shows us how fragile our perception is, and how different the world may seem to someone else. It also shows how this differences can breed distrust and misunderstanding; but that attempts to trust and understand others offer more fulfillment than distrust. This new found trust symbolized by the baby at the end of the film; something untainted and hopeful for new growth. However, Rashomon also clearly exposes the faults of the world and humanity. Ikiru also shows a hopeful message while also giving the viewer a dark reality. 

China Blossay

China in the 20^th Century experienced a myriad of cultural and social pressures. The films Yellow Earth (Chen Kaige, 1984), and Crouching Tiger, Hidden Dragon (Ang Lee, 2000) play upon the themes of these pressures and the effect that they play upon the character’s lives. Within these films, marriage and gender roles, tradition’s merits and downfalls, and Cultural Revolution reforms contribute stress to the main characters. Often the main character’s true selves in these films are unable to be expressed under the constraints of their society, and thus as expressed through the film, characters are only able to live half a life; unable to exist within their culture or as an individual. Often, thus culminates in their death, as the character is unable to truly live within the world.

In Yellow Earth, the viewer is shown both the struggles of tradition and the failures of upcoming reform. Gu Qing, a soldier from a propaganda section of the Communist Eighth Route Army, encounters Cui Qiao, her brother, Hanhan, and father, Da Shu, a peasant family. Cui Qiao is forced into marriage with an older man in order to obtain a dowry to pay for her mother’s funeral and brother’s future dowry. However, Cui Qiao greatly fears her upcoming method and looks to the ‘modern’ Brother Gu as a means of escape. Yellow Earth shows us the faults of the modern and traditional, and Cui Qiao’s decision of which to base her life around.

Yellow Earth contrasts both traditional and modern pressures. Da Shu represents tradition and at first seems very gruff; he sees the marriage/sacrifice of Cui Qiao to an old suitor as his best option to sustain his family. However, this is later contrasted by the great love he is shown to have for his children. This is evidenced by the scene in which he tells Cui Qiao of her upcoming marriage date; although he is not shown, his tone of voice dramatically changes to reveal his sadness. Faced with the heavy expenses of his wife’s funeral and is son’s future dowry, Da Shu goes against his moral standing and allows the marriage to a much older man. The viewer is shown that as Da Shu succumbs to traditional cultural pressures, he sacrifices his daughter. Under the pressures of his culture, Da Shu is unable to reach a fortuitous conclusion.

http://www.youtube.com/watch?v=_HYsU2dQFt4

 Brother Gu falls to the modern communist pressures in China. After spending time with the family, he bonds with Cui Qiao and Hanhan and wishes to remove Cui Qiao from her current situation. However, Brother Gu is unable to enlist Cui Qiao f army due to regulations and red tape.  Because of these restrictions, Cui Qiao’s hope in the Communist’s future Cultural Revolution is left unfulfilled. Brother Gu also ultimately must leave behind Cui Qiao in order to conform to modern pressures.

Cui Qiao also must now make a choice. Confined to a culturally traditional world with Brother Gu gone, she consents to the marriage in order to uphold her families’ status and her brother’s future. However, having tried to exist within the constraints of the traditional culture, Cui Qiao finds that she must sacrifice herself in order to do so. Unwilling, Cui Qiao thus defies her culture by running away from her husband. In attempts to join the Cultural Revolution’s modern culture, she solidifies her break with her own culture by crossing the river in attempts to reach a communist camp. However, due to its restrictions, Cui Qiao cannot belong there either. Unable to exist in either, she disappears into the river, and removes herself from this world. Through Cui Qiao, the viewer is shown that both traditional and modern cultures have their own pressures and rules. In attempting to remove herself from these pressures in order to stay true to herself, Cui Qiao removes herself from this world.

http://www.youtube.com/watch?feature=player_detailpage&v=YQB2CBEI2es#t=217s

In Crouching Tiger, Hidden Dragon, Li Mu Bai, Shu Lien, and Jen each struggle with their conflicting societal duties and their desires. Unable to reach enlightenment, Mu Bai seeks to give up his life as a Wuxia warrior. In order to place his sword, Green Destiny into good hands, he journeys with the warrior Shu Lien. Mu Bai and Shu Lien harbor feelings for each other, but cannot express them due to honor for Shu Lien’s deceased husband. Shu Lien delivers Green Destiny to a mutual friend, and encounters Jen, an aristocrat, who is placed in an arranged marriage and is envious of the warrior lifestyle. It is revealed that Jen has also been trained in Wuxia, and that she too has a love that cannot be realized due to cultural pressures.

Shu Lien and Mu Bai both struggle with their love for each other. Tied down by upholding the honor of Shu Lien’s deceased husband, the two are unable to realize their true selves. Unable to be true to himself, and tied down by desire, Mu Bai cannot reach enlightenment, and thus cannot further his Wuxia training, which encompasses his whole life. Shu Lien is also unfulfilled, with no chance for marriage or intimacy. As the events of the film unfold, Mu Bai changes as he sees Jen question the culture that defines her. In turn, Mu Bai question himself, and decide to show his feelings to Shu Lien. However, Mu Bai dies attempting to redeem Jen. Thus, Mu Bai and Shu Lien are left unfulfilled. Mu Bai’s regret is so great that he chooses to remain with Shu Lien as a ghost. Shu Lien is left to live on, forced to remain within her cultural boundaries. Both characters deviations against their culture lead to their punishment, however their inability to live life as they desired was a greater wrong.

Jen’s position is also that of one who cannot realize their desires without breaking cultural rules. Desiring both freedom and to be true to her parents, Jen cannot be true to herself. Young Jen was attacked by desert bandits, and ultimately fell in love with their leader, Lo. However, loyalty for her family drives her to leave him. From this point on, Jen is divided between freedom and duty, and ultimately breaks on the day of her arranged marriage. At Mu Bai’s death, she is forced to find a true resolution, following his advice to live a life true to herself. Replicating an old myth, Jen calmly jumps from the top of a mountain and disappears from sight. In this manner, she carves a new space in which she can be true to herself. Again, it is shown that those who cannot exist within the constraints of their culture cannot exist at all; yet being true to oneself is still presented as a better option than living half a life.

http://www.youtube.com/watch?v=RvoWL5Aq90w

Through Yellow Earth and Crouching Tiger, Hidden Dragon, we see that one must reject their culture, or reject themselves. Often the pressure from marriage, gender roles and one’s culture forced them to live either half a life, or no life all. Cui Qiao and Jen, trapped between desires, remove themselves from this world. It is apparent from Yellow Earth that some change to culture is necessary; however traditional pressures are only replaced by modern ones, which fails to make a difference.  Crouching Tiger, Hidden Dragon shows that the repercussions to defying ones culture are great; but that the repercussions for sacrificing one’s nature are greater.

Misc en scene in Fallen Angels

The 1995 film, Fallen Angels by Wong Kar-wai is a visually stimulating story presenting urban life in Hong-Kong. Within the film there are two main storylines; that of the hit man, Wong, and the mute, Ho. Fallen Angels is a film that rests on its powerful visual imagery. With a minimal plot, it is the characters, the set pieces and visual effects that invest the viewer in the film.  I aim to take a deeper look in understanding how the misc en scene within Fallen Angels compares and contrasts Wong and Ho.

Fallen Angels does an excellent job of showing its characters in their world as they interpret it. The Hong Kong presented in the movie is the one shown to us by the characters in the film; extorted and self-focused. Constantly the audience is presents with the visual signifier of a mirror; it is often unclear at first whether a shot is of a character or their reflection. This represents both the introspection of the characters, and their uncertainty of whether they have become the image they created. The focus on the character’s interpretation of their world is supplemented by the music in Fallen Angels. Rather than the music being selected as a personal choice by the director, the music is chosen by the characters themselves, with their actions synched to the beat and flow of the music. Even the angles and perspective were based on the character’s self absorption. By using close ups, and a hand camera shots, the viewer was forced to be very ‘close and personal’ with the characters in the film, yet removed by the strange angles and perspectives, mimicking the way the characters are the focus in their environment but also removed from it.

Fallen Angels relies on its visual and auditory signifiers of urbanity to create the striking interpretation of Hong Kong which is presented to the audience. Throughout the film, unnatural lighting and strong use of shadow were used to emphasize the unnatural character of urban life. The characters in the film further build upon this, living unnatural lives in an unnatural city. Shadow also adds to the urban trope of the film, creating a gritty, dark, and unwelcoming atmosphere.  Use of shadow often emphasizes the characters themselves, at once integrating them within their environment and also drawing attention to them within the frame. The music chosen in the film is often co notated with the cool or carnivalistic, both associated with urban living.

Wong, the killer, is constantly trying to achieve ‘cool’ in his life. In the first scene that he is shown, Wong appears to be the essence of cool. Portrayed not in old fashioned, but edgy, black and white, Wong’s face and chest pops out, perfectly framed against his partner. Stylish, but not too formal, Wong holds a cigarette, nonchalantly looking away, contrasting his shaking partner.  When his partner asks him for an explanation, he simply chooses to ignore her and speak to the viewer instead. In these respects Wong is ‘cool’, displaying his indifference while seeming edgy.

However, it is also in this scene where it is possible to see the first hints that perhaps Wong isn’t so cool, that he is simply crafting his image in attempts to fill the cool stereotype. Although his partner has clearly ‘lost her cool’ with her shaking hands, Wong also shows signs that he is uncomfortable with the situation. He is unable to look his partner in the eye, and instead looks downward. On closer inspection, rather than giving the feeling of brushing his partner off, Wong rather seems submissive and afraid. His inability to answer her question also shows his lack of confidence, rather than lack of caring. Wong clearly has ties to his partner, and is unable to fully deal with the situation, undermining his cool appearance. Fallen Angels plays with this front of cool, showing humanity underneath Wong’s crafted image, which feels as if it is simply a barrier set up in reaction to the urban world around him.

http://www.youtube.com/watch?v=NCFFJbREVN0&feature=player_detailpage&list=PL9581FFA169E080E9#t=566s
                The clearest example of Wong’s ‘lack of cool’ is the bus scene. This scene begins as Wong is fleeing his last hit; a restaurant. During the restaurant scene, he again seems to be the cool, calm and collected killer, and even his theme song; Robison Randriaharimalala’s ‘coz I'm cool’ plays. Wong steps to the beat of ‘coz I’m cool’, tying together his perception of himself and his job as a hit man, which also fulfills his cool image. However, on entry of the bus, his theme song instantly dissolves and the audience is left with a relatively mundane looking scene of Wong on the bus. No longer feeling cool, but stressed, we see Wong’s cover fade.

On the bus, Wong’s eyes dart from side to side, obviously unsettled. The bus on which he sits is ordinary, if not a bit old. Through the windows the viewer is able to see city lights, acting as a reminder that the mundane bus is still located in the urban landscape. Suddenly caught off guard, Wong is confronted by an old classmate.  His cool atmosphere is now interrupted by a figure from his childhood. No longer is Wong able to act as if he is a nameless hit man with this very human figure present.  The two converse about mundane topics, Wong staying cool and collected with his responses, but not in his actions.  Again, Wong does not display the confidence to make eye contact, and rubs his face, showing his obvious agitation. Tellingly, as Wong admits that even killers have pasts, the view shifts to Wong’s reflection in this buses’ mirror. Looking at his reflection, Wong sees both his cool image, and also through introspection, the competing view of Wong’s uncool flaws and history. Wong’s reflection appears small against the night backdrop, making him seem very alone; unable to deal with the human contact that is his classmate. Wong wears a strained smile, for once making him feel relatable and human.

Ho, existing in the same universe presents a different story. Becoming a mute at a young age after eating a bad can of fruit, conveniently following his mother’s death, Ho enters the movie when he has escaped from prison. He then returns to his father and begins a life of shenanigans. Ho, unlike Wong, is not trying to be cool, rather he wants to escape the trauma of growing up. Reliant on his father, and continually returning to the ice cream that played a part in his mother’s death, Ho cannot seem to let go of his childhood.

 While conning people, Ho continuously runs into a girl named Charlie. Befriending Charlie, Ho helps her seek out her rival, Blondie, and ends up in a restaurant with her while she again plots against Blondie. Again, the camera is focused closely on Ho and Charlie, with both shadow and unnatural lighting present even in the restaurant. Ho is often surrounded by the bizarre and carnivalistic, and this is contingent with Charlie’s appearance of messy hair, wild attitude, complete with crazy pencil topper. Unstable, she is dependent upon Ho for support.

http://www.youtube.com/watch?list=PL9581FFA169E080E9&v=aPqyPJm4_w8&feature=player_detailpage#t=189s

Charlie seems to be the first person whom Ho has taken responsibility for. When a fight suddenly and unexpectedly breaks out in the restaurant at the mention of Blondie, Ho is there to protect Charlie. This scene is so sudden that it almost feels as if it sprang from Ho’s imagination, and his newfound desire to protect Charlie. Contingent with Ho’s personality, we see the restaurant through his mind; a blurred swirl of events complete with action theme music.  The camera follows Ho through the restaurant, in slow motion to emphasize his fighting, while making a path for Charlie. Again, we see through the camera work the focus on self, as Ho imagines himself a hero. The scene only starts to break down when we see Ho accidentally hit Charlie, taking away from his childish hero status. However, he is redeemed when she comes back to drag him away.  In this instance, Ho’s childishness is still clear, with a wild imagination and a desire to cause trouble. However, he now edges towards some responsibility in his need to care for Charlie.

The restaurant scene finishes with the dream like shot of Ho and Charlie sitting in yet another restaurant. Ho states that women are like water, and appropriately the blurred, black and white view of Ho and Charlie almost makes it appear as if water is flowing over the camera lens. Time seems to be slowed down for Ho and Charlie as everyone in the background rushes by.  Because of this, everything is blurry and surreal looking. A relaxed old rock tune plays in the background, its constant beat seeming to match the movement in the background. Again, this deliberate slowness is shown because Ho sees the moment this way. Charlie is still and statue like, allowing Ho to fully take her in, and revel in his newfound love for her.  Yet, in this moment in time, Ho never actually completes any of the more intimate actions with Charlie, such as petting her hair. He merely settles for resting on his shoulder, showing the difference between his desires and true actions.

At the end of the film, Ho has lost both Charlie and his father. Forced to grow because of his tenderness for Charlie, Ho manages to deal with his father’s loss more appropriately and grow from the ordeal. In remembrance of his father, Ho views the videotape he made of his father over and over again. While watching the video, Ho eats ice cream, thus sharing the moment with both his father and his mother. The video mimics aspects of how we see Ho’s life; many close ups, shots made with a hand camera, and a clear presentation of he and his father’s urban life. However, as the film focuses on his father, this presents a key difference from the audience’s view of Ho’s life. Instead of self absorption, Ho has grown into a character that is concerned with the lives of others.

It is this character growth in Ho that differentiates him from Wong. Wong, wanting change but unable to deal with it, must be removed from the storyline, and is ended when his partner places a hit upon him. Ho, although ripped from his situation, has grown enough to start anew. This is especially clear at the end of the film where Ho picks up Wong’s loose ends and again takes responsibility, this time for Wong’s partner. Now with gentle, happy music, the two ride away, in effect, riding away from their past lives. The camera alternates from a long shot to a close up, creating both a sense of distance and closeness. At a promise of ‘warmth’ the camera pans up to the sky; still cloudy, but foretelling of new possibilities and hope.

Fallen Angels is reliant upon misc en scene to reveal the hidden attributes of its characters. With minimal amounts of plot and dialogue, Fallen Angels cannot present the story in any other fashion. Although its characters exist in the same world, misc en scene reveals the subtleties of a character’s struggles and development. While Wong attempts to uphold an image of cool, we see that this contradiction to his hidden self proves to be too much, and in the end, Wong is unable to exist in his environment. Ho struggles with adulthood, but possesses the ability to change, and is ultimately able to continue living.