As Tears Go By (1988)

When it comes to Gangster movies, only the romantic lens of Kar Wai Wong could result in a movie that features a couple captured in loving embrace on its DVD cover and a title befitting a melodramatic sob-fest as opposed to the blood-thirsty, violent display that it actually aspires to be. Awash with a heavy-handed eighties synth-rock soundtrack that does absolutely nothing for the film some twenty years onwards, As Tears Go By is the byproduct of a director being given the reigns for the very first time and quite naturally, not quite knowing how to implement the hundreds of ideas that he has brewing around in his brain. Indeed, while much of the script is very barebones material drawing heavily influences from Scorsese's Mean Streets amongst other higher-budget Hollywood features, it is Wong's frantic, almost schizophrenic pacing and storytelling that gives it a voice of its own. Sure, it's a voice that at this point in time is still very much in its infancy—awkward and stilted—yet you can nevertheless see where the director was going with this, his directorial debut.

Telling the story of two Triad "brothers" as they battle the passions of themselves and those around them, As Tears Go By is an interesting take on the already well-established gangster movie format. Inherent here are the typical staples; the partners at odds with each other, one a young hot-headed blood-thirsty shark looking to go places and his Big Brother, a cool, laid-back veteran with little to no ambition. Brought together, the two end up at odds with other gangsters and loan sharks who consistently threaten death upon both of them should they fail to make ends meet. This tangent which naturally plays out as nine tenths of Wong's story here, bounces back and forth between genuinely compelling action and frustratingly caricaturist drama that seems to repeat itself every twenty minutes. Indeed, if there is any fault to As Tears Go By at all, it exists in Wong's insistence in elaborate, almost inconsequential set-pieces that are fun to watch the first or second time, but wear thin after you realize not much else is happening.

On the other side of the pond however lies a romantic subplot that has given As Tears Go By and indeed Wong himself their names in the cinematic landscape. Centering around the older brother and his passionate affair with his distant cousin who comes to stay for a while, the love story here as it is displayed, is fine and one can understand how audiences may have been moved by its appearance here within an otherwise stoic and bloody display of testosterone, yet suffocated by so much of said action, nothing much is achieved from this deviation. The result is something more akin to a distraction than a truly compelling romance; indeed, while many claim the scene which adorns the DVD cover (which depicts the two in a passionate kiss inside a phone booth) to be representative of Wong's romanticist indulgences that would permeate much of his later career as a film-maker, its initial appearance here is tepid at best. Instead I point to the movie's closing sequence as its most affirming and memorable; it's not exactly a typical Wong depiction, yet it's startling, moving and even just a little bit romantic at the same time too.

In the end, while As Tears Go By stands as a significant and interesting insight into a director's early footsteps in directorial shoes, much of the feature stands as too half-baked in areas that matter most and overly heavy-handed in areas which onl

Fmovies: My feelings towards this film was mixed. In a way it seems to be overrated, just because it was Wong Kai Wei's first film and it was probably his only commercial and gangster film. It was very typical of Hong Kong gangster film in the 80s, with the same overplayed message of loyalty and the main characters trying to prove their value being the central theme. The story was plain and dull, and truthfully, it was another one of the gangster films made in the 80s that is influence by John Woo. Still, I feel this movie deserved some credit for being raved about in certain circles. First of all, this was one of the better gangster films out there, and even though the subject of loyalty seemed overplayed, it was still touching to see the friendship of a boss and his follower. Secondly, and very interestingly, the movie was filmed with an artistic touch. I have rarely seen a gangster film incorporating artistic techniques, such as the distortion of time or using shots of nature, signatures of Wong Kai Wei's latter films, but these artistic scenes became memorable. How could I ever forget the scene where Maggie was walking gingerly through the door, stopped, hesitated for a moment, but continued and slowly, but with class of a true lady, make her way up the stairs? That scene was unforgettable. Although the viewer could only see her back, but from her back, she was still able to project the feeling of uncertainty, but in the end, bravery for going after her love. Usually a scene like this would only be seen in art films, and rarely in a gangster film. In this film, however, the artistic touch only added to the movie's special appeal. A lot of Wong's artistic shots were unforgettable.

The performances by the two lead actors, Andy Lau and Jackie Cheung, were solid and touching, but far from spectacular. A lot of times I feel their expressions, especially Lau, were forced. Jackie Cheung seemed more natural in his acting, but his expressions were exaggerated, probably exaggerated to enforce his aura of cockiness, an aura that was not believable. Future films of the two stars, especially the recent ones, had better performances, and the viewer could see their vast improvements. The performance of Maggie Cheung must be complimented. Her sweet naiveness was so convincing that I had a hard time linking her with the ditsy roles she took before, such as in the Police Story. One could tell big things were ahead for her, and her future success proved it.

Overall, very interesting film, but just another one of the 80s gangster film.

7/10

I'm by no means a Kar Wai Wong aficionado; I've only seen 2 of his films (this and his follow-up feature "Days of Being Wild"). But from what I've seen, this is the best place to start.

Kar Wai Wong films are very artistic, and from a technical perspective they are downright miraculous. However, as is the case with many artistic directors, an over emphasis on art can result in losing the audience. After all, not everyone is able to grasp the totality of a film in just 90 minutes. That said, if I had started with "Days of Being Wild" or even one of his more abstract creations I may have been lost.

"As Tears Go By" is an excellent way to dip your toes in the pool. While it is rich with visual poetry, it is not so complex that it loses its audience. It has a linear story which uses explosive scenes of violence to keep us awake, and at the same time there is a gentle & poetic undercurrent. The story is about a young man who is involved in the criminal underworld, and his life is torn between 3 elements: duty to his bosses, loyalty to his friend, and a hope for love with a mysterious girl who drifts into his life.

It is an age-old theme, but it's always worth exploring because it cuts to the heart of who we are as humans. Within this story are powerful doses of rage, humility, fear and hope. What may separate this film from others is the way the main character wants to do the right thing. Sure, he's a tough guy, but he's not beyond rationality and knowing when to get the heck outta dodge. The question is, will life/fate allow him to do the right thing?

Although I feel that Kar Wai Wong's "Days of Being Wild" is a superior cinematic achievement, I think "As Tears Go By" has a more direct connection with the audience simply because the main character is very human and likable. Also his sidekick "Fly" is very funny. Good humor is rare in a lot of art films, but it's not lacking here.

I would compare "As Tears Go By" to another excellent film, Michael Mann's "Heat" with Robert De Niro playing the thief torn by the same 3 elements: duty, friends and love. Another good one is the Chinese film "The Drummer" about a gangster's son torn by which path to take: his father's (violent) or his sister's (caring). To me, the best in the genre is Takeshi Kitano's "Hana-Bi" (Fireworks) which really shows the bipolar life of a violent man who is deeply in love with his wife. If you liked any of these films, I think you'll enjoy "As Tears Go By". Similarly, if you like ATGB, check out the others I mentioned.

As Tears Go By fmovies. For me, Kar-Wai is one of the great contemporary directors. This is his first feature, and is rather a conventional Hong Kong gangster movie. However, it already has elements of the visual style and technical flourish that are utilised so well in his later more complex films. An average film with some nice touches, but certainly worth watching for Kar-Wai fans.

Kar-Wai's first film is more in line with the cinematography of other late 80's Hong Kong movies rather than his renown obscure style, seen later on in films like Chungking Express or In the Mood For Love. The characters are also normal in comparison to his later films too, as they take on archetypes seen in many Triad flicks from this era. The writing is classic Wong Kar-Wai however, and what he does with the characters is more interesting then their personalities themselves. In other words their actions speak volumes louder than their dialogue. Andy Lau plays a low-level Triad thug who in hopes of climbing the underworld's ranks becomes held down by his younger brother played by Jacky Cheung. The pair work well together and you begin to like the dynamic bond between them. Trouble ensues between the pair and their gang, and many hard decisions await Andy Lau as he tries to straighten out both his reckless brother and forbidden romance on the side. The ending has a real impact and Wong Kar-Wai's direction is responsible for such a memorable story. Although it feels Kar-Wai wasn't fully at the reigns of this one with some mediocre moments, overall his efforts can be felt wholeheartedly and the passion shines through to deliver a good experience. -7/10

Wong Kar-Wai's feature debut is essential viewing for anyone who's been beguiled by his more recent work, but it is really just a slightly more existential take on the standard HK gangster pic. It has more commercial considerations, less emotional complexity (or navel-gazing, if you side with Jackie Chan, who called him "the most boring film-maker on the planet")* than 'Fallen Angels' or 'In the mood for love', but there's much to admire in his idiosyncratic digressions from generic conventions. Maggie Cheung, surely one of HK's finest actresses, but so rarely allowed to prove it, is slightly wasted here. Her performance is pleasingly internal and understated, far-removed from the pseudo-comic mugging she made to enact in the Police Story movies which made her famous, but her character is really just the pining girlfriend, an iconic figure of a better future. I can fully accept Cheung as the embodiment of all that is feminine and comforting in the world, but her role is a slight disappointment given the screen-melting roles Wong handed to Brigitte Lin, Faye Wong, Karen Mok and Cheung herself in later films. And, by the way, this is very violent.

* Jackie Chan also said that Amy Yip was the ugliest woman in the world and that ladies shouldn't fight in movies.