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.
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.
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.
This was an enjoyable read, and I think you did a good job. Fallen Angels was an excellent choice for an analysis of mise-en-scene. As I have mentioned before, I like how the movie almost forces you to consider and digest the elements of film that could go unnoticed in other works. I really like how you analyze both sides of Wong's portrayal of being cool, that although he has so many elements working for him to make the audience believe that he oozes cool, those same elements can work to betray that notion. If you were to do more on this topic, I think it might be interesting to throw around a few comparisons and contrasts to A Better Tomorrow, as they are both HK gangster films, but their use of mise-en-scene, cinematography, and soundtrack are very different.
ReplyDeleteThanks for your feedback! I'm glad you can see my point on Wong. Also, Fallen Angels definitely does take a different approach to misc en scene than A Better Tomorrow, I think it would be very interesting to compare misc en scene in terms of character attributes between the two films.
DeleteI really liked how you approached mise-en-scene in fallen angels in the first half of your post. You analyzed how Wong and the dispatcher were displayed onscreen together rather well. I also enjoyed your analysis of Ho as he sat down to watch the video he made and how the shots in the video presented a clear view of his life. If I could make a small suggestion, it would be nice to hear more of your thoughts on specifically how the frames with Charlie and Ho together were arranged and what they mean.
ReplyDeleteThanks so much. I also thought those were the strongest parts of my paper. Thanks for the suggestion, that is definitely something I did not consider, I agree that looking at that would make my paper stronger.
DeleteI really enjoyed this essay. Fallen Angels definitely was a good choice, it provides tons of numerous character views for analyses. Also, the choice of everyone essentially having their own thyme music was an interesting topic of the movie.
ReplyDelete