| Photos (See all 43 | slideshow) | Videos (see all 5) |
| Jude Law | ... | Jeremy | |
| Norah Jones | ... | Elizabeth | |
| Chad R. Davis | ... | Boyfriend (as Chad Davis) | |
| Katya Blumenberg | ... | Girlfriend | |
| John Malloy | ... | Diner Manager | |
| Demetrius Butler | ... | Male Customer | |
| Frankie Faison | ... | Travis | |
| David Strathairn | ... | Arnie | |
| Adriane Lenox | ... | Sandy | |
| Rachel Weisz | ... | Sue Lynne | |
| Benjamin Kanes | ... | Randy | |
| Cat Power | ... | Katya (as Chan Marshall) | |
| Michael Hartnett | ... | Sunglasses | |
| Natalie Portman | ... | Leslie | |
| Michael May | ... | Aloha | |
| Jesse Garon | ... | Young Poker Player | |
| Sam Hill | ... | Fat Guy | |
| Tracy Elizabeth Blackwell | ... | Matron (as Tracy Blackwell) | |
| Michael Delano | ... | Cowboy | |
| Audrei Kairen | ... | Poker Player | |
| Bill Hollis | ... | Doctor | |
| C. Clayton Blackwell | ... | Used Car Salesman (as Charles Clayton Blackwell) | |
| Hector A. Leguillow | ... | Cook (as Hector Leguillow) | |
| rest of cast listed alphabetically: | |||
| Paula Allen | ... | Diner Customer (uncredited) | |
| Nate Bynum | ... | Harlan (uncredited) | |
| Jan Falk | ... | Blonde at Bar (uncredited) | |
| Marguerite Hibbets | ... | Cafe Patron (uncredited) | |
| Ty Izquierdo | ... | Gas Station Attendant (uncredited) | |
| Laurie Johnson | ... | Cafe / Bar Patron (uncredited) | |
| Naseera Mays | ... | Waitress (uncredited) | |
| Donald Meyers | ... | Bar Patron (uncredited) | |
| Jackie Moore | ... | Friend (uncredited) | |
| Alisa Nave | ... | Restaurant Waitress (uncredited) | |
| Kenon Walker | ... | Bar Patron (uncredited) | |
Directed by | |||
| Kar Wai Wong | |||
Writing credits(WGA) | ||
| Kar Wai Wong | (screenplay) (as W.K.W.) & | |
| Lawrence Block | (screenplay) | |
| Kar Wai Wong | (story) (as W.K.W.) | |
Produced by | |||
| Wai-Chung Chan | .... | line producer (as Alice Chan) | |
| Ye-cheng Chan | .... | executive producer | |
| Stéphane Kooshmanian | .... | associate line producer | |
| Pamela Thur | .... | line producer (as Pamela Thur-Weir) | |
| Jacky Pang Yee Wah | .... | producer | |
| Kar Wai Wong | .... | producer | |
Original Music by | |||
| Ry Cooder | |||
Cinematography by | |||
| Darius Khondji | (director of photography) | ||
| Pung-Leung Kwan | |||
Film Editing by | |||
| William Chang | (as William Chang Suk Ping) | ||
Casting by | |||
| Avy Kaufman | |||
Production Design by | |||
| William Chang | (as William Chang Suk Ping) | ||
Art Direction by | |||
| Judy Rhee | |||
Costume Design by | |||
| William Chang | (as William Chang Suk Ping) | ||
| Sharon Globerson | |||
Makeup Department | |||
| Gloria Belz | .... | makeup artist: Memphis | |
| Janice Byrd | .... | hair stylist: Memphis | |
| Sandy Jo Johnston | .... | makeup artist: Memphis | |
| Mandy Lyons | .... | key hair stylist | |
| Nuria Sitja | .... | key makeup artist | |
| Persefone Karakosta | .... | makeup artist (uncredited) | |
| Jeffrey Rebelo | .... | wig maker (uncredited) | |
Art Department | |||
| Kristen Adams | .... | art department intern: New York City | |
| Jill Alexander | .... | property master | |
| Josh Allen | .... | art department intern: New York City | |
| Bob Arietta | .... | stand-by painter: New York City (as Robert Arietta) | |
| Shawn Batey | .... | set decorating shopper: New York City | |
| Teri Bella | .... | set decorating shopper: New York City (as Terri Bella) | |
| Sheila Bock | .... | set decorating shopper: New York City | |
| Kinney Booker | .... | on-set dresser: Nevada | |
| Peter Budd | .... | props: Memphis | |
| Jeffery Butcher | .... | property master: New York City (as Jeffrey Butcher) | |
| Bill J. Coggon | .... | leadman: Nevada (as William Coogan) | |
| Victor Cook | .... | scenic artist: Memphis | |
| Jack Cornelius | .... | set dresser: Nevada | |
| Chad R. Davis | .... | set dresser: Memphis (as Chad Davis) | |
| Joseph Deluca | .... | set dresser: New York City | |
| Rich Devine | .... | set decorator: New York City (as Richard Devine) | |
| Ryan Donahue | .... | assistant property master | |
| Liza Donatelli | .... | art department intern: New York City | |
| Gennadiy Feldman | .... | stand-by painter: New York City | |
| Veronica Ferre | .... | art department intern: New York City | |
| Don Ghio | .... | on-set dresser: Memphis | |
| Jackie Glisson | .... | set decorating shopper: Memphis | |
| Daniel K. Grosso | .... | set dresser: New York City (as Daniel Grosso) | |
| Sandy Handloser | .... | set decorating shopper: New York City (as Sandra Handloser) | |
| Johnny Joye | .... | set dresser: Nevada | |
| Richard S. Kamin | .... | construction coordinator: New York City (as Richard Kamin) | |
| Tyler Kim | .... | assistant property master: New York City | |
| Mark Klein | .... | construction grip: New York City (as Mark A. Klein) | |
| Eric Knight | .... | stand-by painter: Nevada | |
| Robert E. Knight | .... | charge scenic: Nevada (as Robert Knight) | |
| Eric Lewin | .... | set dresser: New York City | |
| Thomas Machan | .... | art department production assistant: Nevada | |
| Tyler Mauney | .... | art department production assistant: New York City | |
| Corrinne Merrill | .... | art department intern: New York City | |
| Leann Murphy | .... | art department coordinator: New York City | |
| Francis Panuccio | .... | construction grip: New York City | |
| Juliana Ross | .... | art department intern: New York City | |
| Andrew Shapiro | .... | on-set dresser: New York City | |
| Jane Shirkes | .... | set decorating shopper: Nevada | |
| Rodney Sterbenz | .... | on-set dresser: New York City | |
| Victoria Stewart | .... | art department intern: New York City | |
| Stavros Toumanidis | .... | art department production assistant: New York City | |
| Chisato Uno | .... | art department intern: New York City | |
| Chris Vogt | .... | leadman: New York City | |
| Robert Vogt | .... | set dresser: New York City (as Bob Vogt) | |
| Paul Weathered | .... | props: New York City | |
| Jessie Webster | .... | art department intern: New York City | |
| Rachael Weinzimer | .... | assistant property master: New York City | |
| Glen Aldous | .... | scenic (uncredited) | |
| Katya Blumenberg | .... | art department coordinator (uncredited) | |
| Gabu Camilo | .... | additional props (uncredited) | |
| Kley Gilbuena | .... | second props: second unit (uncredited) | |
| Frank Hendrick | .... | set dresser (uncredited) | |
| Laurel Kolsby | .... | graphic designer (uncredited) | |
Sound Department | |||
| Joshua Adeniji | .... | foley editor | |
| Mike Anderson | .... | sound utility: Nevada (as Michael Anderson) | |
| Michael Baird | .... | adr supervisor | |
| Michael Baird | .... | supervising sound designer | |
| Jeremy Balko | .... | foley mixer | |
| Nathan Black | .... | sound utility: Memphis | |
| Robert Dehn | .... | assistant sound editor | |
| Duane Estill | .... | sound effects recordist | |
| Michael Ferdie | .... | dialogue editor | |
| Jason Gaya | .... | assistant sound editor (as Jason 'Frenchie' Gaya) | |
| Judah Getz | .... | foley mixer | |
| Jeanne Gilliland | .... | utility sound: New York City | |
| Scott Hinkley | .... | sound mixer | |
| Drew Kunin | .... | sound mixer | |
| Claude Letessier | .... | sound designer | |
| Smith Long | .... | sound effects recordist | |
| Zach Michaelis | .... | foley artist | |
| Lee Orloff | .... | sound mixer: Nevada | |
| Todd O. Russell | .... | boom operator: Nevada (as Todd Russell) | |
| Kira Smith | .... | boom operator | |
| Walter Spencer | .... | supervising dialogue editor | |
| Paul Tirone | .... | sound re-recordist | |
| Vicki Vandegrift | .... | foley artist (as Vicki O'Reilly Vandergrift) | |
| Jonathan Wales | .... | sound mixer | |
| Lukas Chyska | .... | adr recordist (uncredited) | |
| Michael Feuser | .... | sound editor (uncredited) | |
| Peter Gleaves | .... | adr mixer (uncredited) | |
| Hodar Wise | .... | assistant dialogue editor (uncredited) | |
Special Effects by | |||
| Anthony Jacobs | .... | special effects technician: Memphis | |
| Lisa Reynolds | .... | special effects technician: Memphis | |
| Bob Shelley | .... | special effects coordinator: Memphis (as Robert Shelley) | |
| Randy Southerland | .... | special effects technician: Memphis (as Rand Southerland) | |
Visual Effects by | |||
| Randall Balsmeyer | .... | visual effects designer: Big Film Design | |
| Chuchawan Chairimiyang | .... | film scanning and recording (as Chuchawan Chairimwiang) | |
| J. John Corbett | .... | visual effects designer: Big Film Design | |
| Eric Delacour | .... | visual effects artist: Oriental Post | |
| Piyanut Kaeomaneo | .... | film scanning and recording (as Piyanut Kaeomanee) | |
| Kritsada Kaewmanee | .... | digital technical supervisor (as Kristada Kaewamani) | |
| Gary Leung | .... | multimedia designer: Hong Kong | |
| Teerachai Pankhao | .... | visual effects artist: Oriental Post | |
| Pornopol Sakarin | .... | digital technical supervisor (as Pornpol Sakarin) | |
Stunts | |||
| Bobby Beckles | .... | stunts | |
| Tim Gallin | .... | stunts | |
| Mitch Herron | .... | stunts | |
| Max Maxwell | .... | stunt coordinator | |
| Brian Smyj | .... | stunt coordinator | |
Casting Department | |||
| Elizabeth Greenberg | .... | casting assistant (as Liz Greenberg) | |
| David M. Waldron | .... | extras casting associate: New York City (as David Waldron) | |
| Leeba Zakharov | .... | casting assistant | |
| David H. Kramer | .... | adr voice casting (uncredited) | |
Costume and Wardrobe Department | |||
| Mark Agnes | .... | costume supervisor | |
| Lisa A. Doyle | .... | set costumer: Nevada (as Lisa Doyle) | |
| Lee Harper | .... | assistant costume designer (as Sarah 'Lee' Harper) | |
| Mei Lai Hippisley Coxe | .... | set costumer | |
| Rachel Leek | .... | wardrobe supervisor: New York City | |
| Lindsey Alexander | .... | costume assistant (uncredited) | |
| Christy Hebert Crouch | .... | costume production assistant (uncredited) | |
| Kevin Mark Harris | .... | tailor (uncredited) | |
| Kelly Anne Ross | .... | co-wardrobe supervisor: Memphis (uncredited) | |
Editorial Department | |||
| Chi Wai Chan | .... | assistant editor (as Chan Chi Wai Andy) | |
| William Chang | .... | digital color grading supervisor (as William Chang Suk Ping) | |
| Narathorn Hermaratanathorn | .... | on-line editor (as Narathorn Hemratathorn) | |
| Deborah Huen | .... | senior colorist (as Debora Huen) | |
| Chutima Lertpattaraworachat | .... | digital intermediate producer: Oriental Post | |
| Uthit Netwong | .... | negative cutter | |
| Hathaisak Pankhao | .... | on-line editor (as Hathaisak Pankao) | |
| Manop Petchiu | .... | negative cutter (as Manop Petchyu) | |
| Ruchiroch Phadungchai | .... | on-line editor | |
| Supamol Pleumchusak | .... | color timer | |
| Sakmongkon Pongmaneerat | .... | digital intermediate producer: Oriental Post | |
| Rattanwan Porakngam | .... | negative cutter (as Rattanawan Porakngam) | |
| Nepasnan S. | .... | digital intermediate producer: Oriental Post | |
| Pramota Sanlithayee | .... | on-line editor (as Pramote Santithayee) | |
| Geoffrey Sledge | .... | editing assistant | |
| Porjaite Srisaeng | .... | on-line editor (as Porjaye Srisaeng) | |
| Suwil Tiwakornkul | .... | on-line editor (as Suwit Tiwakornkul) | |
| Phanid Witchimpharlee | .... | negative cutter | |
| Bobbie Wong | .... | digital intermediate project supervisor: Oriental Post | |
Music Department | |||
| Ry Cooder | .... | musician: guitar | |
| Guadalupe Jolicoeur | .... | music supervisor | |
| Stephen Macklam | .... | music supervisor (as Steve Macklam) | |
| Charlotte Yu | .... | music coordinator: Hong Kong | |
Other crew | |||
| Peter Alson | .... | poker coach | |
| Patiporn Anuvanitravel | .... | assistant to vice president: Front End Productions (as Patiporn Anuvanitrutravate) | |
| Pierre Arson | .... | subtitler: French | |
| Laura Berning | .... | location manager: second unit | |
| Taylor Black | .... | production secretary | |
| Danielle Blumstein | .... | production coordinator | |
| Alex Borys | .... | assistant location manager: Memphis | |
| Brad Boyer | .... | location production assistant: second unit | |
| Fred Vannucci Braz | .... | production office intern | |
| Dan Burks | .... | on-set production assistant: Nevada | |
| Andrew Carabetta | .... | production office intern: New York City | |
| Patty Carey | .... | location manager: New York City (as Patty Carey-Perrazio) | |
| Wikanda Chaiviririyachok | .... | production coordinator (as Wikana Chaiviriyachok) | |
| Sharon Chung | .... | subtitler: Chinese (as Sharon Chung Hiu Yeung) | |
| Gilles Ciment | .... | subtitler: French | |
| Wendy Cohen | .... | clearances and product placement: Production Resources | |
| Jennifer DeLia | .... | travel coordinator | |
| Philip DeRise | .... | production executive: New York City | |
| Nell Drake | .... | assistant accountant | |
| Guy Efrat | .... | assistant location manager: New York City | |
| Massoumeh Emami | .... | script supervisor | |
| Kristi Frankenheimer | .... | location manager: Nevada | |
| Travis Gerdes | .... | production office intern: New York City | |
| Shelly Gillette | .... | location assistant: Memphis | |
| Matthew Glenn | .... | on-set production assistant: Nevada | |
| Audra Gorman | .... | location assistant: second unit | |
| Helen Harrington Talbot | .... | craft service: Memphis | |
| Susan Hegarty | .... | dialect coach: Memphis | |
| Ching Man 'Jamie' Ho | .... | production coordinator: Hong Kong (as Jamie Ho) | |
| Lukas Huffman | .... | on-set intern: New York City | |
| Sam Hutchins | .... | location manager: New York City | |
| Syndey Huynh | .... | production coordinator | |
| Ben Jackson | .... | assistant: Mr. Law | |
| Pensuda Jaroonratanakul | .... | production coordinator (as Pensuda Jaroonrattaakul) | |
| Sittiwat Kaewkulsri | .... | assistant to vice president: Release Printingb | |
| Kim Karston Bush | .... | assistant: Ms. Jones | |
| Sean King | .... | on-set production assistant | |
| Benjamin-Lew Klon | .... | on-set intern: New York City | |
| Daniel Lam | .... | production office intern: New York City | |
| Irene Leung Sin Yee | .... | legal consultant: Hong Kong | |
| Jenny Lovin | .... | production office staff assistant: New York City (as Jennifer Lovin) | |
| Gine Lui | .... | location scout | |
| Christian Macklam | .... | on-set intern | |
| Wallace Man | .... | production accountant: Hong Kong | |
| David Martin | .... | location scout: New York City | |
| Mike Martin | .... | on-set production assistant | |
| Tim Martin | .... | on-set production assistant: New York City | |
| Clem McIntosh | .... | on-set production assistant: New York City | |
| Kristen Mink | .... | assistant location manager: New York City | |
| Bruno Mora | .... | location secretary: Nevada | |
| Melissa Morgan | .... | on-set production assistant | |
| Tenita Murray | .... | accountant assistant: New York City | |
| Phuong-Thuy Pham | .... | location assistant: New York City (as Phuong Pham) | |
| Edmond Poon | .... | production accountant: Hong Kong | |
| Joaquin Diego Prange | .... | location manager: Memphis (as Diego Prange) | |
| Wilson Rivas | .... | craft service: New York City | |
| Aton Roberts | .... | key set production assistant | |
| Vincent Rubino | .... | making-of | |
| Jonathan Russek | .... | production secretary: New York City | |
| Pison Santawanpas | .... | laboratory consultant | |
| Jason Silvis | .... | craft service: Nevada | |
| Jennifer Sims | .... | on-set production assistant: New York City | |
| Jessica Solce | .... | assistant: Ms. Weisz | |
| Kat Spiess | .... | production office intern: New York City | |
| Holli Strickland | .... | on-set production assistant: Nevada (as Holly Strickland) | |
| Linda Toon | .... | first assistant accountant payroll | |
| Christian Valsamidis | .... | legal consultant | |
| Christian Vendetti | .... | key set production assistant: New York City | |
| Norman Wang | .... | unit publicist | |
| Taylor Wessing | .... | legal consultant: Paris | |
| Andy Wheeler | .... | production accountant | |
| Telly Wong | .... | dialogue consultant | |
| Passakorn Yaisiri | .... | laboratory consultant | |
| Scott Bigbee | .... | location scout (uncredited) | |
| Maria Falgione | .... | photo double: Norah Jones (uncredited) | |
| Maria Falgione | .... | stand-in: Norah Jones (uncredited) | |
| Glenn Ferrara | .... | production assistant (uncredited) | |
| Jessalyn Haefele | .... | production assistant (uncredited) | |
| INGA Hakan | .... | stand-in: Natalie Portman (uncredited) | |
| Nancy L. Hardin | .... | stand-in: Norah Jones (uncredited) | |
| Ranise Jackson | .... | production associate (uncredited) | |
| Benjamin Kanes | .... | stand-in: Jude Law (uncredited) | |
| Morgan Kellum | .... | location scout (uncredited) | |
| Serena Kuo | .... | location production assistant (uncredited) | |
| Nicole LaPera | .... | stand-in: Nora Jones (uncredited) | |
| Alexandria Lee | .... | photo double: Natalie Portman (uncredited) | |
| Alexandria Lee | .... | stand-in: Natalie Portman (uncredited) | |
| Matthew Martini | .... | photo double: Jude Law (uncredited) | |
| David S. Merrill | .... | location scout (uncredited) | |
| Jeremy Mohler | .... | set key production assistant: New York/Nevada units (uncredited) | |
| Mario Nila | .... | production assistant (uncredited) | |
| Bob Pepper | .... | stand-in (uncredited) | |
| Matthew Pratt-Hewitt | .... | set production assistant (uncredited) | |
| Erik Proveaux | .... | head chef: Mobile Gourmet Catering (uncredited) | |
| Rachael Riegert | .... | photo double: Natalie Portman (uncredited) | |
| Rachael Riegert | .... | stand-in: Natalie Portman (uncredited) | |
| Patrick T. Rousseau | .... | production assistant (uncredited) | |
| Howard Samuelsohn | .... | dialect coach (uncredited) | |
| Stavros Toumanidis | .... | production assistant (uncredited) | |
| Stephanie Tull | .... | set production assistant (uncredited) | |
| Jamie Vermilye | .... | set production assistant (uncredited) | |
| Amy Weatherford | .... | photo double: Rachel Weisz (uncredited) | |
| Amy Weatherford | .... | production assistant (uncredited) | |
| J.W. Williams | .... | stand-in (uncredited) | |
Thanks | |||
| Phil Bredesen | .... | thanks (as The Honorable Phil Bredesen, Governor of the State of Tennessee) | |
| Thad Carlile | .... | thanks | |
| Gilles Ciment | .... | thanks | |
| Willie Herenton | .... | thanks (as The Honorable Willie W. Herenton, Mayor of Memphis) | |
| Patricia Kaufman | .... | thanks (as Pat Kaufman) | |
| Katherine Oliver | .... | thanks | |
| A.C. Wharton | .... | thanks (as The Honorable AC Wharton, Mayor of Shelby County) | |
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| 21 Grams | Chung Hing sam lam | My One and Only | Brokeback Mountain | Lackawanna Blues |
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| News articles | IMDb Drama section | IMDb Hong Kong section |
Wong Kar Wai, the Hong Kong auteur, has made his first movie all in English and set in the USA--and built around Grammy Award singer Norah Jones. More coherent than many of Wong's efforts, it's been accused of being a "trifle"--or is it just that the plot seems silly now that it's all clear and in English? Like all Wong's work, this is a film that's romantic, sad, and gorgeous to look at from first to last and full of strong, catchy pop-blues-country music (Ry Couder did the score). The beautiful Ms. Jones's character, variously known as Elizabeth, Lizzie, Beth, or Betty, turns up at a New York café run by Jeremy (Jude Law), a guy from Manchester, England, drenched in love-longing because her man has dumped her for somebody else. Jeremy has a jar full of keys from patrons, each with a story, and Lizzie gives him hers, hoping her boyfriend will pick them up again. Jeremy has his own lost love, Katya (Cat Power); she'll turn up later on just to say goodbye. Jeremy's keys stand for doors he himself doesn't want to close.
Though Lizzie's boyfriend never turns up, Jeremy and Lizzie begin to have late night chats and sugar orgies, she eating a piece of blueberry pie with ice cream--picking blueberry because that's the pie that's always left over at the end of the day.
There's a fight in the café, and Jeremy plays around with a surveillance camera, which he seems to use as a kind of diary. Soon he will be alone, and Lissie will be away.
This time instead of improvising as in the past, which among other things contributed to his last film, 2046, a kind of summation of his Chinese themes and characters, taking five years to finish, Wong made up his story, with Norah in mind, and then had it turned into a finished screenplay (subject to plenty of revisions, of course) by crime novelist Lawrence Block. This one had a low budget and took just a couple of months to make. Shooting time, that is. It really took a year to do the editing, but Wong had that finished, to everyone's surprise, just in time for My Blueberry NIghts to be shown as the opener at Cannes last year.
Like Wong's other films, this one encapsulates several different stories. The second one comes when Lizzie decides to "cross the street" to revisit Jeremy by the "longest way possible," which turns out to be a trip to Memphis and Nevada and points in between, thousands of miles and nearly a year--a time of self-discovery, no doubt (though she doesn't observably change), and a period to avoid the inevitable romance with Jeremy. Landing in Memphis Lizzie works at two jobs, saving up money to buy a car. At a bar she encounters the drama of the drunken cop Arnie Copeland (David Strathairn) and his estranged wife, Sue Lynne (Rachel Weisz). Both are fine, acting their heads off in scenes heady with barroom dysfunction. For once, an on-screen drunk admits to going to Alcoholics Anonymous--and collecting a beginner's chip over and over and over. He throws the chips on the bar and they make a satisfying chink. But Arnie comes to a bad end, though Sue Lynne, despite rejecting him, keeps his tab open as she lights out for the territory. Through all of this Lizzie constantly sends Jeremy a stream of postcards that are a kind of intimate diary, and he desperately tries to track her down by phone and letter, without success.
Every young filmmaker dreams of making a road movie, Wong Kar Wai has said. Though he's now fifty, this is a kind of new beginning, or felt like one to him. But, he said, this movie isn't really a road movie; it's a vacation. And it's not about a journey, but about distance. Maybe the trip across the street for Lizzie is all a dream--one by Sam Shepherd, working with David Lynch. Sue Lynne gives Lizzie a generous donation for being Arnie's barmaid too, and she lights out for Nevada. There she's working at a gambling dive where she meets a young woman named Leslie (Nathalie Portman) who's a pro, and they wind up leaving town together. Eventually, Lizzie ends up back at Jeremy's café, and he's waiting for her.
Coming after As Tears Go By, Days of Being Wild, Chungking Express, Ashes of Time, Fallen Angels, Happy Together, In the Mood For Love, and 2046, Wong's excursion into America is completely consistent and logical. Those who seem disappointed, may miss the ellipses and madcap improv of the earlier films, and may have failed to notice that they were full of pop novel gimmicks and romantic cuteness. Wong's sentimentality passes muster because of cryptic story lines, poetic voice-overs, hypnotic uses of music, and adventurous camera work--mostly by Christopher Doyle, here replaced by the half-French and wholly brilliant Darius Khondji --made infinitely rich by complex editing. My Blueberry Nights is full of criss-cross angles, fast overlaps, closeups so shallow atmospheric Americana may go unnoticed, till a lovely panorama flits by. Color is typically warm and dense. The effect is to make every frame a pleasure.
Reciting Wong Kar Wai's list of features brings home how he single-handedly made the Eighties and Nineties an exciting cinematic time, from the first days when you had to go to a theater on the edge of Chinatown, and then you watched badly subtitled Hong Kong prints found in esoteric video shops, to the time when Tarantino's Miramax label, Rolling Thunder, distributed Chungking Express in a good print with clear titles and the secret was out.
Maybe Wong never did anything better than Days of Being Wild, the first film in which he became truly himself. But what does it matter? The quintessential stylist, he cannot make a film that doesn't give rich aesthetic pleasure.
US opening date April 18, 2008.