November 6, 2024 • 13 mins
"As Tears Go By" is the debut of filmmaker Wong Kar-wai. It's his love letter to the film "Mean Streets". He shares a tragedy where love is lost, both of the romantic and of the brotherly. I was amazed to see a style of filmmaking and it came out in 1988. It's very stylistic and isn't afraid to push narrative boundaries. My favorite scene of the film is honestly, the ending. I wont say why but it's an effective ending that you don't really get to see in cinema nowadays. It's a film that drama, romance, crime, some comedy, and even existentialism. It's a film about a gangster who tries throughout the whole film, to look out for his best friend, and honestly, his only friend, especially in the world they're in. His friend is always messing up and he has to figure out a way to chamge, or else...
It's great film in it's style of filmmaking and a story that's engaging and doesn't spoon feed you
#astearsgoby
It's great film in it's style of filmmaking and a story that's engaging and doesn't spoon feed you
#astearsgoby
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Good Morning. This is Morning Real, hosted by Ray Salazar.
If I see it, I review it. This is a
three or four two hundred minute or so podcasts. The
films that I review of all ages, of all colors,
black and white, technic color, from Japan to Taiwan, from
Tunisia to the state of Oklahoma. I watch what I
(00:25):
need to watch today. I love One Car Why. Man.
He's a really good filmmaker. He's done a lot of films.
Man as Tears Go By. It's a nineteen eighty eight
Hong Kong action crime drama film starring Andy Laud, Maggie Chung,
and Jackie Chung. Are they related? Oh? The film is
(00:49):
a directorial debut of One Car Why. It was inspired
heavily by Martin Scorsese's Mean Streets. I can kind of
see it. I kind of don't, obviously, to different directors,
to different nationalities. They got their own roots in filmmaking
and as to how they grew up in saw life
as how they grew up. Anyways, this is a very
(01:13):
simple but very strong film for a debut. You know.
It's about this small time triad member trying to keep
his friend out of trouble and It actually screened at
the nineteen eighty nine Ken Film Festival during International Critics Week.
Now let me go with the credits. Real Quick directed
(01:35):
by One Car Why, written by Jeffrey Lao and One
Car Why, produced by Alan Tang, starring Andy Lao, Maggie
Chung and Jackie Chung. Cinematography by Andy Lao, edited by
Chung Pey, tuk Hi kit Wa and who's uncredited William Chang,
(01:56):
Well so will Music by Danny Chung and Teddy production
Company in Gear Films, The Shooter by Quino International. This
film came out on June ninth, nineteen eighty eight. WHOA,
there's an old last film and the language is Cantonese.
The country's Hong Kong. Listen, this film's pretty good. I
(02:18):
like it a lot. It's not a very complex film. Honestly,
there's some stuff about the film, like not even the
plot period. It's just like, how can I say this. Japan,
or rather some parts of Asia have a certain culture
where apparently it's okay for two cousins, whether they're distant
(02:38):
or close or I don't know, two have a romance
of some kind. And honestly, and la who plays Wah
and Maggie Chung, who plays Gore or new yor or no,
I don't know how to pronounce it properly, but either way,
these two have a romance and they're distant cousins, right,
And obviously we don't really see, like too much of
(03:01):
the romance, but we get to witness and feel it
with the use of cinematography and music between these two
characters who, oddly enough, I don't know how nor can
like fall in love with this guy named wah Man.
I don't like. That's the one thing I don't really see.
I mean, I guess it's a trope where like a
(03:22):
woman from a another town comes to visit and sees
like the f crap happening, and you know, you develop
feelings over a guy who's kind of taking care of
you in some weird way, and boom, it's not like
a case of Stockholm syndrome. But it's like, you know,
it's there's something good in that guy. You know, I
can see it. And honestly, this film plays along that
(03:44):
notion where like there's always something good in somebody, no
matter how stark or no matter how messed up they are.
You know, like when you love and care about somebody,
whether it's a friend or a family member, you're kind
of gonna want to do what you can. So while
he has a homing named Fly, right, they're from the
same triad or whatever. He's like that type of homie
(04:07):
who just cannot stay out of trouble. Man. And not
only does he cannot stay out of trouble, he kind
of like brings you along with the trouble, you know
what I'm saying, Like, if somebody it falls on to you,
You ever had that, You ever experienced that before. I'm
pretty sure some of my listeners have experienced I would
have homie before. We're like, you're too much, dog. I can't.
(04:28):
You can't be hanging out with me no more. You
can't because all my homies want to fuck you up.
In fact, they want you dead. So please, for the
love of God, just just stay back, dude. And Fly
does not stay back whatsoever. Man. For some reason, this guy,
he's just one of those people who, like, I mean,
(04:49):
it's not really known, but like he does say it
in some weird way that like all of his life, man,
he's just been messed up. Man, Like he's never had
anybody who's looked out for him. There's no one out
there for this guy except for a while. Why is
really his true homie? And it sucks to try to
bring somebody along your clerk, you know, your group of friends,
(05:10):
and in this case, so tryad. You know. It's sometimes
you can't bring people like that alone because it's gonna
make the ship go down, and eventually the ship goes down.
I will say this film has everything. It has crime, drama, comedy, romance,
times of reflection, all dial with some really good music
(05:31):
that one car Wide just knows how to do. It's like,
it's funny because this movie came out before Reservoir Dogs
or pulp fiction, but obviously it came after Green Streets
Taxi Driver. The Scorsese films of the eighties, especially like
Raging Bull, King of Comedy, you can tell that this
(05:51):
guy studied Scorsese, and you can tell with this film
Quentin Tarantino studied this guy because you can see that
sort of style in his films. And honestly, watching this film,
especially for the first time, I get to really take
that in and be like, wow, like this guy really
did some stuff first, So why tries to keep fly
(06:14):
out of trouble? He puts them all different types of
like ways to make money, such as like selling deep
fried fish balls, you know, stuff like that, or just
having him do some stuff that like doesn't really require
him to be violent or to like just to not
put him in trouble. And guess what, Fly just just
(06:37):
gets into trouble. But guess what, Man like the people
that they hang around with, obviously gangsters, small time gangsters.
Hey man, you don't want to mess with gangsters because
guess what, it's not just gonna be one gangster fucking
you up, but there's gonna be a family you know
of sorts trying to fuck up with that guy, you know.
And it sucks. It sucks to see how your homie
(06:58):
just keeps messing up in life and you try to
redirect them into the opposite of things. And I like
Wall's character a lot because obviously he has so much
under his plate in the sense that, like he has
a reputation in some weird way. He's trying to have
a normal life even in the small time crime, you know,
and he has a homie who has to like kind
(07:18):
of like sort of take care of And obviously when
you see the love that wah has for Fly, especially
during the scenes where Wah and Fly get caught up,
and they get caught up pretty nasty, to the point
where you're like, dude, how did like how can you
make it out of this one? And like and hope
that these guys are not going to fuck you up again.
(07:40):
But these guys obviously like they have a code and
they live by But sometimes when it's just too much,
when the crap has hit the fan one too many times,
the gloves are off. The third act of the film
is really a good third act. You know, obviously, the
third act is where all things close up, all the
gloves are off, you know, whether it be a happy
(08:02):
ending or a not so happy ending. And in this film,
this is a film that really takes you to the
point where like, WHOA, what's going to happen? And I
like how things just build and build and develop, and
you ask yourself, WHOA, what is Fla going to do?
Why is Fly standing there? Why is you know? You
just ask these questions, these whys and these house and
(08:25):
these wins, and one car wide gives it to you,
and he gives it to you pretty raw, dry, no spit,
hardcore fashion. I wish I can spoil the ending for you, y'all,
But honestly, this is a film that I wish you should. Honestly,
you should watch this film. I definitely recommend you watch
(08:47):
this film. Not a bad film whatsoever. If I have
to give it a rating, honestly, I would give it
a three and a half out of four toques. It's
a really good film. That romance, subplot or whatnot, I
don't really agree with that. I just like, couldn't it
(09:11):
just be like some like some chick, or couldn't it
be Flies cousin or a Flies brother or something like that.
But then again, One car Why would have had to
like or you know whoever, you know, wherever the people
wrote it, you know, they could have probably had to
make some sort of you know, plot surrounding that. But
I don't think obviously One car Why didn't want any
of that. He just wanted what he wanted. The romance
(09:34):
in those two people between nor and and Why. For
the most part, you know, the way that romance ended,
it's actually it's actually pretty good. It's very what you
might call it, very melodramatic, but in a good way.
It's like when you watch a you know, the channel
eighteen Korean soap dramas or soap operas where sometimes it
(09:59):
just takes a look from one protagonist to the other
protagonists just to look, just to look of like of
desperation or the look of longing, and then you see
tears go down in our eyes. And it's dramatic and
it's powerful, and it works and they're supposed to touch you.
Does a good job at doing that. Was I convinced
(10:20):
of that as far as like the cousin to Cousin Plott.
Fuck no, But when we're talking to just about filmmaking
in general, hell yeah, it works, and it works very well.
It's just not my cup of tea, but it's violent.
The ending of this film is to me, I would
compare it to Bonnie and Clyde, you know, and just
(10:42):
you know, just heed my words on that one. You know,
it's not exactly Bonnie and Clyde, but it feels like
Bonnie and Clyde. Man, when like, it doesn't have to
be a woman and and a man going down. It
can be all other kinds of genders and all that crap,
but the way they go down, man, the way that
(11:06):
scene goes down, period is just it impressed the hell
out of me. It really shocked me. It's not even
the culture shock, it's just a shock in dramatic filmmaking.
And I was just like, whoa man, Like, if there
was one way a film could end, this is the
film that it could end. And honestly not that it
(11:26):
pays homage to Martin Scorsese's Mean Streets, which I've seen
before and probably gonna review that one. I won't. I can't,
you know, I'm not even gonna say it because if
I say it, I can't take it back. Even if
I try to edit it out, I can't. I just can't.
Really good film, even the ending to that film is
like so shocking and sad and tragic at the same time,
(11:49):
and it just makes you feel like damn dude. And
As Tears Go By is the same as that. Really
good scenes, really good action scenes, really good comedy scenes.
There are scenes where you cringe. Not because it's like,
oh man, this is too corny, it's like, dude, what
are you doing? Why are you like fucking this ship up?
(12:11):
And why? But like some people have their reasons, and
there's there's a certain point, especially during the end of
the second act, where Fly, it's like a flip switches
and sometimes you kind of know when when we're you
know where your life's going in a weird way, you know.
(12:31):
And it's not like it's it's not a thing where
you can permanently change. There's some things that you cannot
make a change to. It's like you got to stick
with it, you know. And it's weird that I'm going
to say this, but like every person has a code,
right they live by a certain code, especially you know, triads,
(12:51):
any kind of crime syndicate or group or whatever. They
have a code. And I feel like Fly, it's like here,
realize what his code was because it's like and while
said it too. He said it like like a couple
of times in this film, like dude, you're you're you
don't have a criminal mind. Follow me a Mornishell films
(13:13):
IG and YouTube. Check out my website Morningshofilms dot CEO.
On to the next one. Thank you,
Good Morning. This is Morning Real, hosted by Ray Salazar.
If I see it, I review it. This is a
three or four two hundred minute or so podcasts. The
films that I review of all ages, of all colors,
black and white, technic color, from Japan to Taiwan, from
Tunisia to the state of Oklahoma. I watch what I
(00:25):
need to watch today. I love One Car Why. Man.
He's a really good filmmaker. He's done a lot of films.
Man as Tears Go By. It's a nineteen eighty eight
Hong Kong action crime drama film starring Andy Laud, Maggie Chung,
and Jackie Chung. Are they related? Oh? The film is
(00:49):
a directorial debut of One Car Why. It was inspired
heavily by Martin Scorsese's Mean Streets. I can kind of
see it. I kind of don't, obviously, to different directors,
to different nationalities. They got their own roots in filmmaking
and as to how they grew up in saw life
as how they grew up. Anyways, this is a very
(01:13):
simple but very strong film for a debut. You know.
It's about this small time triad member trying to keep
his friend out of trouble and It actually screened at
the nineteen eighty nine Ken Film Festival during International Critics Week.
Now let me go with the credits. Real Quick directed
(01:35):
by One Car Why, written by Jeffrey Lao and One
Car Why, produced by Alan Tang, starring Andy Lao, Maggie
Chung and Jackie Chung. Cinematography by Andy Lao, edited by
Chung Pey, tuk Hi kit Wa and who's uncredited William Chang,
(01:56):
Well so will Music by Danny Chung and Teddy production
Company in Gear Films, The Shooter by Quino International. This
film came out on June ninth, nineteen eighty eight. WHOA,
there's an old last film and the language is Cantonese.
The country's Hong Kong. Listen, this film's pretty good. I
(02:18):
like it a lot. It's not a very complex film. Honestly,
there's some stuff about the film, like not even the
plot period. It's just like, how can I say this. Japan,
or rather some parts of Asia have a certain culture
where apparently it's okay for two cousins, whether they're distant
(02:38):
or close or I don't know, two have a romance
of some kind. And honestly, and la who plays Wah
and Maggie Chung, who plays Gore or new yor or no,
I don't know how to pronounce it properly, but either way,
these two have a romance and they're distant cousins, right,
And obviously we don't really see, like too much of
(03:01):
the romance, but we get to witness and feel it
with the use of cinematography and music between these two
characters who, oddly enough, I don't know how nor can
like fall in love with this guy named wah Man.
I don't like. That's the one thing I don't really see.
I mean, I guess it's a trope where like a
(03:22):
woman from a another town comes to visit and sees
like the f crap happening, and you know, you develop
feelings over a guy who's kind of taking care of
you in some weird way, and boom, it's not like
a case of Stockholm syndrome. But it's like, you know,
it's there's something good in that guy. You know, I
can see it. And honestly, this film plays along that
(03:44):
notion where like there's always something good in somebody, no
matter how stark or no matter how messed up they are.
You know, like when you love and care about somebody,
whether it's a friend or a family member, you're kind
of gonna want to do what you can. So while
he has a homing named Fly, right, they're from the
same triad or whatever. He's like that type of homie
(04:07):
who just cannot stay out of trouble. Man. And not
only does he cannot stay out of trouble, he kind
of like brings you along with the trouble, you know
what I'm saying, Like, if somebody it falls on to you,
You ever had that, You ever experienced that before. I'm
pretty sure some of my listeners have experienced I would
have homie before. We're like, you're too much, dog. I can't.
(04:28):
You can't be hanging out with me no more. You
can't because all my homies want to fuck you up.
In fact, they want you dead. So please, for the
love of God, just just stay back, dude. And Fly
does not stay back whatsoever. Man. For some reason, this guy,
he's just one of those people who, like, I mean,
(04:49):
it's not really known, but like he does say it
in some weird way that like all of his life, man,
he's just been messed up. Man, Like he's never had
anybody who's looked out for him. There's no one out
there for this guy except for a while. Why is
really his true homie? And it sucks to try to
bring somebody along your clerk, you know, your group of friends,
(05:10):
and in this case, so tryad. You know. It's sometimes
you can't bring people like that alone because it's gonna
make the ship go down, and eventually the ship goes down.
I will say this film has everything. It has crime, drama, comedy, romance,
times of reflection, all dial with some really good music
(05:31):
that one car Wide just knows how to do. It's like,
it's funny because this movie came out before Reservoir Dogs
or pulp fiction, but obviously it came after Green Streets
Taxi Driver. The Scorsese films of the eighties, especially like
Raging Bull, King of Comedy, you can tell that this
(05:51):
guy studied Scorsese, and you can tell with this film
Quentin Tarantino studied this guy because you can see that
sort of style in his films. And honestly, watching this film,
especially for the first time, I get to really take
that in and be like, wow, like this guy really
did some stuff first, So why tries to keep fly
(06:14):
out of trouble? He puts them all different types of
like ways to make money, such as like selling deep
fried fish balls, you know, stuff like that, or just
having him do some stuff that like doesn't really require
him to be violent or to like just to not
put him in trouble. And guess what, Fly just just
(06:37):
gets into trouble. But guess what, Man like the people
that they hang around with, obviously gangsters, small time gangsters.
Hey man, you don't want to mess with gangsters because
guess what, it's not just gonna be one gangster fucking
you up, but there's gonna be a family you know
of sorts trying to fuck up with that guy, you know.
And it sucks. It sucks to see how your homie
(06:58):
just keeps messing up in life and you try to
redirect them into the opposite of things. And I like
Wall's character a lot because obviously he has so much
under his plate in the sense that, like he has
a reputation in some weird way. He's trying to have
a normal life even in the small time crime, you know,
and he has a homie who has to like kind
(07:18):
of like sort of take care of And obviously when
you see the love that wah has for Fly, especially
during the scenes where Wah and Fly get caught up,
and they get caught up pretty nasty, to the point
where you're like, dude, how did like how can you
make it out of this one? And like and hope
that these guys are not going to fuck you up again.
(07:40):
But these guys obviously like they have a code and
they live by But sometimes when it's just too much,
when the crap has hit the fan one too many times,
the gloves are off. The third act of the film
is really a good third act. You know, obviously, the
third act is where all things close up, all the
gloves are off, you know, whether it be a happy
(08:02):
ending or a not so happy ending. And in this film,
this is a film that really takes you to the
point where like, WHOA, what's going to happen? And I
like how things just build and build and develop, and
you ask yourself, WHOA, what is Fla going to do?
Why is Fly standing there? Why is you know? You
just ask these questions, these whys and these house and
(08:25):
these wins, and one car wide gives it to you,
and he gives it to you pretty raw, dry, no spit,
hardcore fashion. I wish I can spoil the ending for you, y'all,
But honestly, this is a film that I wish you should. Honestly,
you should watch this film. I definitely recommend you watch
(08:47):
this film. Not a bad film whatsoever. If I have
to give it a rating, honestly, I would give it
a three and a half out of four toques. It's
a really good film. That romance, subplot or whatnot, I
don't really agree with that. I just like, couldn't it
(09:11):
just be like some like some chick, or couldn't it
be Flies cousin or a Flies brother or something like that.
But then again, One car Why would have had to
like or you know whoever, you know, wherever the people
wrote it, you know, they could have probably had to
make some sort of you know, plot surrounding that. But
I don't think obviously One car Why didn't want any
of that. He just wanted what he wanted. The romance
(09:34):
in those two people between nor and and Why. For
the most part, you know, the way that romance ended,
it's actually it's actually pretty good. It's very what you
might call it, very melodramatic, but in a good way.
It's like when you watch a you know, the channel
eighteen Korean soap dramas or soap operas where sometimes it
(09:59):
just takes a look from one protagonist to the other
protagonists just to look, just to look of like of
desperation or the look of longing, and then you see
tears go down in our eyes. And it's dramatic and
it's powerful, and it works and they're supposed to touch you.
Does a good job at doing that. Was I convinced
(10:20):
of that as far as like the cousin to Cousin Plott.
Fuck no, But when we're talking to just about filmmaking
in general, hell yeah, it works, and it works very well.
It's just not my cup of tea, but it's violent.
The ending of this film is to me, I would
compare it to Bonnie and Clyde, you know, and just
(10:42):
you know, just heed my words on that one. You know,
it's not exactly Bonnie and Clyde, but it feels like
Bonnie and Clyde. Man, when like, it doesn't have to
be a woman and and a man going down. It
can be all other kinds of genders and all that crap,
but the way they go down, man, the way that
(11:06):
scene goes down, period is just it impressed the hell
out of me. It really shocked me. It's not even
the culture shock, it's just a shock in dramatic filmmaking.
And I was just like, whoa man, Like, if there
was one way a film could end, this is the
film that it could end. And honestly not that it
(11:26):
pays homage to Martin Scorsese's Mean Streets, which I've seen
before and probably gonna review that one. I won't. I can't,
you know, I'm not even gonna say it because if
I say it, I can't take it back. Even if
I try to edit it out, I can't. I just can't.
Really good film, even the ending to that film is
like so shocking and sad and tragic at the same time,
(11:49):
and it just makes you feel like damn dude. And
As Tears Go By is the same as that. Really
good scenes, really good action scenes, really good comedy scenes.
There are scenes where you cringe. Not because it's like,
oh man, this is too corny, it's like, dude, what
are you doing? Why are you like fucking this ship up?
(12:11):
And why? But like some people have their reasons, and
there's there's a certain point, especially during the end of
the second act, where Fly, it's like a flip switches
and sometimes you kind of know when when we're you
know where your life's going in a weird way, you know.
(12:31):
And it's not like it's it's not a thing where
you can permanently change. There's some things that you cannot
make a change to. It's like you got to stick
with it, you know. And it's weird that I'm going
to say this, but like every person has a code,
right they live by a certain code, especially you know, triads,
(12:51):
any kind of crime syndicate or group or whatever. They
have a code. And I feel like Fly, it's like here,
realize what his code was because it's like and while
said it too. He said it like like a couple
of times in this film, like dude, you're you're you
don't have a criminal mind. Follow me a Mornishell films
(13:13):
IG and YouTube. Check out my website Morningshofilms dot CEO.
On to the next one. Thank you,
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