Chungking Express
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Synopsis
The whiplash, double-pronged Chungking Express is one of the defining works of 1990s cinema and the film that made Wong Kar Wai an instant icon. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung Chiu Wai), both jilted by ex-lovers, cross paths at the Midnight Express take-out food stand, where the ethereal pixie waitress Faye (Faye Wong) works. Anything goes in Wong’s gloriously shot and utterly unexpected charmer, which cemented the sex appeal of its gorgeous stars and forever turned canned pineapple and the Mamas & the Papas’ “California Dreamin’” into tokens of romantic longing.
Picture 8/10
The Criterion Collection upgrades their release of Wong Kar-wai’s Chungking Express to 4K UHD, presenting the film in its original 1.66:1 aspect ratio on a dual-layer BD-66 disc, with a 2160p/24hz ultra high-definition encode. A standard dual-layer Blu-ray is also included, featuring a 1080p presentation of the film and all of the release’s bonus features. Outside of the disc art, this Blu-ray is identical to the one found in Criterion’s World of Wong Kar Wai box set. Both presentations stem from the same 4K restoration performed by L’Immagine Ritrovata, scanned primarily from the 35mm original camera negative.
As many will recall, the new restorations of Wong’s films were controversial, featuring aggressive color adjustments, extensive digital tinkering and filtering, and even changes to aspect ratios (Fallen Angels, for instance, was literally squashed into a 2.39:1 frame). The results were a mixed bag on Blu-ray, but Chungking Express emerged as the best of the lot, sidestepping some of the heavier post-processing applied to the companion titles. Though the credits were altered (now clearly computer-generated) and the palette pushed toward a greenish hue (as with all the films), these changes didn’t drastically affect the film. In some ways, they may have improved upon Criterion’s original 2008 Blu-ray. It also helped that the film retained most of its grain, and the encode handled it well.
Based on how the Blu-ray turned out, I went into this 4K edition cautiously optimistic. The Blu-ray still holds up remarkably well, but I kept expectations in check after being burned by Criterion’s 4K release of In the Mood for Love. While the presentation was serviceable on Blu-ray, the 4K disc managed to amplify the master’s baked-in issues, exposing compression and delivering a more digital, less filmic appearance. Thankfully, Chungking Express escapes that fate. This 4K edition delivers a genuinely solid presentation that surpasses the Blu-ray, even if a few caveats remain.
Film grain is still present and, for the most part, beautifully rendered. However, it's more obvious now that modest filtering has been applied in spots. The film is generally very grainy, but a few shots appear smoother than others, likely not just due to the elements but some light digital work. That said, when the grain is in full force, it looks organic and natural, avoiding the noisy, processed look seen in In the Mood for Love. As a result, the image here feels far more film-like and natural.
Detail levels remain strong, though they’re limited somewhat by Wong’s own aesthetic—soft focus, diffusion filters, and other stylized choices are employed freely. A few shots (especially during slow-motion sequences) appear to come from a later-generation element, likely an interpositive, and exhibit a dupe-like softness. But outside of those intentional choices, the image is crisp and highly detailed.
Colors still impress. Reds, blues, and violets are rich and saturated, and there are beautiful bursts of yellow and orange throughout. The greenish tint remains, but in this case, I actually think it works. Criterion’s older Blu-ray looked flatter and leaned into the video-era red bias, while this version feels more balanced—skin tones included. Whether it's accurate or not, I preferred the look here, especially compared to the extremes seen in some of the other restorations. Black levels are generally strong, though some shadow detail is lost to crush. The film would’ve benefited from HDR, both to deepen the shadows and to give the colors more punch, but alas, this is an SDR presentation. Even so, the brighter scenes have decent range, and highlights still hold up well.
As with the Blu-ray, the restoration work has cleaned up the image beautifully, and print damage is still a non-issue. Minor caveats aside, this is a fantastic upgrade and a welcome improvement over Criterion’s earlier release.
Audio 9/10
I still really like the film’s 5.1 presentation, which appears to be the same track included in Criterion’s World of Wong Kar Wai box set. There's a wide dynamic range between the highs and lows, and I especially enjoy how the film’s more frenetic sequences are mixed: music and ambient noise swirl around the viewer in a dizzying, immersive fashion. The soundtrack’s two key songs—The Mamas and the Papas’ “California Dreamin’” and a cover of The Cranberries’ “Dreams”—stand out especially well. Both are mixed loudly and clearly, without sounding harsh or distorted. It’s an active, engaging mix that suits the film’s energy perfectly.
Extras 5/10
All of the supplements are found on the standard Blu-ray, and since it’s a direct port of the box set disc, it’s the same slim collection as before. Things start off with a 12-minute segment from a 1996 episode of Moving Pictures, carried over from Criterion’s 2008 release. It features Wong Kar-wai and cinematographer Christopher Doyle discussing the film’s music, visual style, and more. They also touch on their other collaborations, including what was then the still-unreleased-in-the-UK Fallen Angels, and talk about the film’s unique look, shaped in part by the use of a wide-angle lens. There’s also mention of the now-familiar green tint found in their films. The segment has been altered slightly: its aspect ratio has been modified, seemingly to accommodate Fallen Angels' clips in the newly imposed scope ratio.
Next is a 10-minute program from 2002 featuring Doyle revisiting the Hong Kong locations used in the film. These range from a spot that served as the backdrop for a deleted subplot, to the real-life diner/restaurant location, and even to the apartment used for Tony Leung’s character—which, amusingly, was Doyle’s own apartment at the time. (As he also warns in Moving Pictures, Doyle advises against ever letting a film crew shoot in your home.)
This is followed by a set of deleted scenes, accompanied by interview segments with Wong. The first revolves around an alternate storyline for Brigitte Lin’s character, where she is a former star in hiding (explaining the wig). The second is more of a montage featuring excised footage around Faye Wong’s character (with Leung appearing as well). The third section is a collection of outtakes, interspersed with behind-the-scenes footage. The whole thing feels like it was originally assembled for an older DVD release, though I’m not sure which one. This material didn’t appear on Criterion’s 2008 Blu-ray.
Rounding things off is the film’s trailer, sourced from the new restoration, and an insert featuring Amy Taubin’s essay—originally written for Criterion’s 2008 release.
It’s an underwhelming package overall, made more frustrating by the absence of Tony Rayns’ excellent audio commentary from the 2008 edition. I assume this was at Wong’s request, since academic material Criterion had produced for their original In the Mood for Love DVD was similarly dropped in later editions. I get it, but I really liked that track. It offered a thoughtful, analytical look at the film, Wong’s career, and the broader context of Hong Kong cinema at the time. It also served as a great introduction for newcomers to his work. If you still have that original Blu-ray, it’s worth holding onto for the commentary alone.
Closing
I wish Criterion would revisit the supplements—or at least bring back Rayns’ commentary—but outside of that criticism, this new 4K edition offers a sharp-looking upgrade over their previous Blu-rays.
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