A young woman (Michelle Reis) wanders through the night in Hong Kong: it is on the way to a shabby hotel where they set up at a job, and just for that. The movements are fluid, fast, experienced. Then he comes, the Killer (Leon Lai), prepares to takes its time, then it goes off. Somewhere someone must always be killed. With mechanical precision, he carries out the order, a hot shooting, danger, speed comes before beauty. The loneliness of the long-time killer.
FALLEN ANGELS is the cinema trip in general. Genre, noise, open narrative. Nothing is explained, everything is done, somehow, without being justified. The story formed in the course of seeing. That it is a tragedy, one notices until later. And such a love tragedy. Because the agent is in love with the killer, but he forbids all this. They never meet, everything is anonymous, cold business.
There he meets the drift Erin. Blonde hair, seduction, slash right angle. And then the second narrative, where the comedy comes in the film, though, this is perhaps exaggerated: an ease at least that balances the hypnotic side. Takeshi Kaneshiro. It is perfect for this character between silly seriousness and absurdity, irreverence, pulsating heart. The adrenaline rush for the second half of the film. One that I like less than the beginning, this breaks everything apart a little confused. The gained clarity dissolves again into the fragment, we do not know where you want the movie.
This film is the film by Christopher Doyle. Without him the film would not be what it is. Doyle is ecstatic, courageous, original, creative, energetic. He is also completely unpretentious, the staging is not (yet) on stilts. He is the best cinematographer for this film. And: FALLEN ANGELS is perhaps the best movie of Wong Kar-Wai, he is, like the amazing predecessor CHUNG KING EXPRESS - from which he shows -,...: a film from Hong Kong.
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