Nov 27, 2010 Chunking Express, Frame Shot 0:47:39.00
By: Zack Selley
In a film where two similar synchronous stories overlap the distinction between characters often becomes blurred. As is the case between Hong Kong officers 223 (Takeshi Kaneshiro), and 663 (Tony Leung Chiu-Wai) both officers overcoming lost loves through a myriad of unusual actions. The second and most prominent story in the film details the actions of officer 663 and his previous love through the only flashback scene in the entire film. Here we encounter the source of 663’s desire as the beautiful airline hostess (Valerie Chow) whom he had seduced, fallen in love with, and was subsequently left by.
In this frame as opposed to most of Chunking Express that is filled with vivid bouncy colors, and action scenes blurred with quick motion and short cut lengths, the flashback scene of 663 takes the form of a slowly drawn out slightly faded memory. The colors have all muted into soft blues and pinks as opposed to the expressive and excessive bright yellows and reds that dominate most of the film. The frame itself shot from behind the main character (663) as if like a memory he is looking back on himself from an outside point of view. The interesting depth of field used in this frame extends from the action of the scene, where initially the main character (663) and the airplane are in focus, until his lover enters the doorway. At this point the depth of field shifts to the middle-background leaving 663 mostly blurred and her only partially blurred while most of the background is clearly visible. This action, which adds and illuminates the fading memory aspect of how 663 is beginning to loose hope for the return of his lost love also reveals how he sees himself as a vague, mostly darkened entity lost amidst the beauty he once knew.
As a memory for officer 663 this frame express not only the escape 663 desires from his repetitive daily life without the object of his affection, but also the notion of escape itself; as the center of his attention in the frame is a small plastic airplane circling around his love. This plane is contrasted by the picture of a sailing ship on the wall; another romanticized form of travel, or potential escape for 663. Partially seen in this frame pined to the wall on the right are what latter appear to be postcards and postage stamps yet more offerings to this idea of travel. Of course this is all solidified by the actuality that she, 663’s love interest is in fact an airline hostess who is partially dressed in her airline hostess uniform during this scene.
The angles of people and objects in frame 0:47:39 add an element of interest, as nothing appears to be forced, however simultaneously they don’t seem to be quite natural either. The slight tilt of the camera coinciding with the direction of the plane, the point of the ship, and the weight of woman leaning against the doorframe creates an aura of significant weight to the scene either in content of plot, or metaphorically for how 663 views his past. Perhaps the intention of the director was not only to distort the past, but also to signify the unstable relationship between the two characters by filming the scene at a slight angle.
Physically the angles in frame 0:47:39 create astonishing beauty; the juxtaposition of the V shapes in-between the airplane and the bent arm of the airline hostess create a delicate symmetry between his desire for her, and his desire for escape. The filmed shot from which through the doorway to the window to the sky we see the airplane pass instills yet again the idea that escape is a possibility for officer 663. Furthermore, the line drawn from the camera angle as behind 663 on the right, past the woman on the left, through the kitchen window framed by a V shaped curtain, a fridge and a plant instill the idea that nothing is actually centered in the frame, or that no one thing is of any more importance than any other object.
The organic feeling portrayed in this frame lays in opposition as noted before to most of the film, as Hong Kong often becomes a cold electric place for officer 663, with most of his time spent roaming around beneath neon signs deciding what to do with his life, and what to eat. In this frame delicately lighted and slightly pink flesh tones are reflected in the entire room. The cold white kitchen is given life by a large plant growing in the window, which becomes a symbol of love and growth as we don’t experience this sensation again until 663 meets his next love interest Fay (Fay Wong) in a market filled with plants.
Ultimately, this frame represents two sides of officer 663. One; how he wishes his life could be; bathed in beauty, the object of someone else’s affection. The other, how he feels separated from his desires whether they are love, escape, or acceptance.