Fallen Angels | 
| Actors: Takeshi Kaneshiro, Charlie Yeung, Karen Mok, Michelle Reis, Leon Lai
Studio: Kino Video
Category: DVD
List Price: $29.95
Buy New: $16.15
You Save: $13.80 (46%)
New (15) Used (8) from $11.27
Rating:  8 reviews
Sales Rank: 72387
Format: Closed-captioned, Color, Dvd, Original Recording Remastered, Subtitled, Widescreen, Ntsc
Languages: Cantonese (Original Language), English (Subtitled)
Rating: Unrated
Region: 1
Aspect Ratio: 1.33:1
Number Of Discs: 1
Running Time: 96 Minutes
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: KICD03792D
UPC: 738329037925
EAN: 0738329037925
ASIN: B0002X7GY8
Theatrical Release Date: 1995
Release Date: October 19, 2004
Availability: Usually ships in 1-2 business days
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Product Description
Set in the neon-washed underworld of present day hong kong fallen angels intertwines two exhilarating tales of love and isolation: the unconsummated love affair between a contract killer and his ravishing female agent and the story of ex-convict ho. Studio: Kino International Release Date: 10/19/2004 Run time: 96 minutes
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| Customer Reviews: Read 3 more reviews...
 a great movie May 14, 2006
Paul S. Ercolano (new york, ny)
10 out of 10 found this review helpful
Fallen Angels is a truly special film, but it's not for everyone. It's gritty in a stylish way, shot mostly handheld with available light. But it's not gritty in the way most American pictures are; shaky cameras with perfect lighting and snappy editing. The takes are long, and the film is often grainy.
Wong Kar-Wai explores the transitory nature of life here. It's a little confusing, and the characters are beyond weird, but they really do have heart. The frantic pace and confusion give way to brief, precious moments of poignancy. The bleakness and impermanence of the rest of the film makes these moments feel even more meaningful.
If this sounds like your style, the movie can be very rewarding. But it's definitely not everyone's style. I find Chungking Express is generally a more palatable Wong Kar-Wai picture for viewers with more mainstream tastes.
Stunning images, enigmatic stories -- an exceptional and exciting film about love and longing in Hong Kong April 12, 2008
Nathan Andersen (Florida)
9 out of 9 found this review helpful
Three individuals whose lives intersect and parallel form the core of this stunningly photographed, moody and intense cinematic masterpiece. A hitman who is getting tired of the messiness of his job; his partner, who plans everything out for him in meticulous detail but would really like to cross the line with him between business and pleasure; a mute, who breaks into other people's businesses at night and forces unwitting passersby to purchase his wares. They rarely ever meet, but they share the same spaces, and sleep the same hours. The film alternates between: the intensely cool portrayal of a hitman with all the style of a Hollywood badboy, and all of the mellow of a Spaghetti Western antihero -- the femme fatale lonely longing that simmers with an undercurrent of anger of his partner -- and the slapstick comic silliness of the mute. The faded neon lights, the eclectic and moody music, the kinetic and flowing camera -- this is unlike anything you've seen unless you've seen a Wong Kar-Wai film and if you have you know that he doesn't ever quite repeat himself. This film shares a good deal with the atmosphere of Chungking Express, but is darker and more moody, and in many ways more intense and exciting -- I love both films but this one has an edginess that you don't find in the other -- you might say that Chungking is the day film and this is the night. One connection between the films is that the mute in this film is played by the same actor as the pineapple-eating policeman in Chungking Express. Their characters share the same name, He Xiwu, and this one lost his voice as a result of eating bad pineapple from an expired can -- but they are not exactly the same as this one never was a policeman and allegedly lost his voice at age 5. A beautiful and exciting film -- definitely one to see for lovers of the art of film.
The Daddy of the Kar Wai Canon October 18, 2006
Adrian Stranik (London)
7 out of 7 found this review helpful
Fallen Angels could have been so named due to its dropped origin as part of director Wong Kar Wai's previous film Chunking Express, emerging afterwards as a follow up. To hear the critics tell it, `Express' is his masterpiece, regularly making the `best movies ever made' lists along side such exalted company as your Citizens Kane's and Casablanca's. But for me Fallen Angels is, to date, the daddy of the Wong Kar Wai canon.
Fallen Angel tells of a not quite burnt-out hit man, Leon, who begins to tire of the whole `gun for hire' malarkey and decides to quit on account of his burgeoning feelings for the female operative who he has never met, but who plans his jobs for him. The female operative, Michelle, also emotes for our existential assassin but somehow they both realise that if they ever did come face to face the fantasy would evaporate. The unrequited love thing is Kar Wai's forte but here it is more a case of "As long as you don't look at it, it won't disappear." So their love continues on the basis of ensuring that it never really exists. Anxious to avoid an inevitable unprofessional encounter, our navel gazing killer goes off on an adventure into the Kowloon night where he crosses paths with a series of likable reprobates before embarking on that fatal "one last job."
This takes us not so neatly into a `mad as a hatter' subplot about a petty criminal who was rendered mute as a boy by a can of `out of date' pineapples. He goes out at night and gets up to a range of activities such as massaging a dead pig and kidnapping a family and forcing them to eat ice cream. He too falls in love, with a girl who believes she has been beaten to the altar by someone called Blondie. He helps her go in search of the usurper of her affections resulting in a hilarious beating up of a blow up doll!
Cinematographer and Kar Wai regular Christopher Doyle engages a warped and gaudy neon look throughout; something of a trade mark in Kar Wai films. This is the world from inside a Wurlitzer juke box - or, at least, through the eyes of a tranquilised goldfish and this, incidentally, is not a complaint. The other thing I like about this film is that it walks the line between the art house `heart warmers' of the best of European cinema and the `Glock Opera' pyrotechnics of John Woo and Ringo Lam.
Genre clash - it's the future.
Sundown in the City October 12, 2006
Planetary Eulogy (Asheville, NC USA)
4 out of 4 found this review helpful
Wong Kar-Wai is the modern cinema's premier poet of loss and longing. His characteristically enigmatic films capture the erratic rhythms and ephemeral nature of memory and torment: fleeting, fragmented, wandering only to return obsessively to its central foci.
While Wong's debut, "As Tears Go By", was a relatively straightforward commercial riff on Scorsese's "Mean Streets" and the 'heroic bloodshed' style of Hong Kong street opera pioneered by action maestro John Woo, he would establish with "Days of Being Wild" and "Chungking Express" a signature style characterized by visual bravura mixed with interwoven and intensely introspective tales of emotionally isolated young people adrift in the shadow kingdom of urban postmodernity. Eschewing more traditional narrative formats for an ellipitical self-referrentiality that mirrors memory itself, Wong's films are rarely instantly accessible, but reward the patient viewer with intoxicating moods and contemplative brilliance.
"Fallen Angels" was originally conceived as something of a 'nightside' sequal/companion piece to "Chungking Express." Structurally and thematically it mirrors the latter with two seperate plotlines, each centering on a pair of twentysomethings (a hitman and his female 'agent' in one and a strange, mute confidence man and the girl he takes a shine to in the other) in search of love but unable or unwilling to find it in each other. Assorted camera tricks, fish eye lenses, slow motion sequences and the strategic use of a gloriously bittersweet pop soundtrack all help to capture a mood of frantic desperation and the distortions of memory and longing.
Wong also invokes the first of his 'art' films, "Days of Being Wild," returning to its concern with the loss and meaning of identity in an impersonal world. Leon Lai's hitman and Takeshi Kaneshiro's petty criminal both try - and fail - to remake their lives on ths straight and narrow. One of them manages a peace of sorts with his failure - the other goes out out in a bittersweet blaze of glory. Wong also explores the way in which longing (mis)identifies others: his characters view each other through the distorted lens memory and desire - what they see is not reality, but a projection of their own dreams - and when the truth is made manifest, it is always the cruelest blow.
Even better than Chung King Express March 1, 2006
Korwedge (Seattle, WA USA)
4 out of 5 found this review helpful
Here's a great love story that is faster paced and has more action than "Chung King Express". This is a great film with some really exciting cinematography and amazing views of night time Hong Kong! A lot of the shots reminded me of another great foreign film, "El Mariachi", check that one out!
If you liked "Chung King Express", you'll definitely enjoy this movie by the same director. If you enjoyed films like "Lost In Translation" and "Oldboy" you should definitely check out this flick it's beautifully original!
The DVD includes optional English subtitles and the picture quality is excellent.
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