| Rim | Release Date: November 19, 2004 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
20
Mixed:
1
Negative:
0
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Critic Reviews
Days is the first in a loose trilogy including In the Mood for Love and 2046, but here, amidst all the exquisitely deliberate, drippingly sensual imagery that would become Wong’s trademark, there is still the grit and grain of real life, and it makes this perfectly enigmatic film feel somehow thrilling.
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Like Proust's madeleine unleashing a flood of reminiscences in the narrator of his novel, Wong works the elements of his aesthetic — music, beautiful people and emotion — into a mood that so overtakes you it's nearly impossible to emerge from his films without feeling slightly drunk.
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Wild is a relative term for Wong Kar-wai, the master of cinematic languor. You can feel the tension in his second film between genre excitement (there are jarring bursts of violence) and the languid sort of yearning that would become his trademark. These Days of Being Wild are both electric and exhausted.
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Revived (with vastly improved subtitles) some 14 years after it first stunned Hong Kong critics, Days of Being Wild is a sort of meta-reverie populated by a cast of beautiful young pop icons.
Days of Being Wild is less accomplished than later Wong efforts like Chungking Express and In the Mood for Love, but it's smart filmmaking nevertheless. [19 Nov 2004, p.46]
In many ways, Days of Being Wild anticipated the overall pattern of its writer-director-auteur's haunting career, with this genuinely wild story of casual sexual encounters and obsessions across East Asian locales traversed by rootless characters crammed up in Hong Kong's dream factories. [29 Nov 2004, p.27]
While it may have seemed revolutionary in its time, it now suffers from the disadvantage of looking like one more Asian movie about alienated youth. [18 Feb 2005, p.I20]
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