The reason why "Happy Together" is regarded as a classic of literary romance films, in addition to the affectionate interpretation of Leslie Cheung and Tony Leung Chiu Wai, is also closely related to the film's unique artistic attainments. The film does not emphasize story and drama, and has a strong impressionism and perceptualization. The soul of a foreign country drifts away, the noise at the bottom of the society, and the inconspicuous appearance of a broken mirror are all expressed by a "shake". This is also the external manifestation of Du Kefeng's hand-held photography style magnifying the emotions of the characters. In addition, the inherent sense of presence of the handheld camera has also shortened the emotional distance between the audience and Li and He. Through the highly infectious lens, the audience seems to be a bystander of the life of this same-sex couple
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In the composition, the hand-held shooting + oblique angle of view composition technique can be seen everywhere, this is especially reflected in the description of the environment such as streets, corridors, and rooms, thus creating a sense of alienation of the mystery of "Lost Buenos Aires". The film uses the dislocation and deformation of time and space to show Li Yaohui's repressed and uneasy emotions and living conditions at the other end of his hometown. In the description of the lives of Li and He, this composition technique makes the scarred love of Li and He tottering. As for the slow motion processing, the film uses the normal shooting speed to slow down to create a blurry, mottled or even stuck psychedelic color, and the memory of heartbreak is rendered blurred and absurd. The mirror movement in "Happy Together" does not emphasize the narrative effect of inheritance and transformation in the traditional sense. The strong metaphorical color, strong modeling and emotional expression make the whole movie a sad lyric poem with endless lines. Farewell
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"Happy Together" is a representative of Wong Kar-wai's film language and lens aesthetics to the extreme
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The film uses a strong color and a soothing mood to match a homosexual relationship in a foreign land. Wong Kar-wai vividly shows the two male protagonists' moods at the edge of the collapse with his delicate directing techniques
. The moving part of the film is Wong Kar-wai's understanding and tolerance of human emotions, able to go to the end of the world, or because there is a place to go back
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He Baorong, played by Leslie Cheung, is an unflattering role. He happens to be on the line that will be annoying and perhaps understandable. If it weren’t for Leslie Cheung’s interpretation, the acceptance of this role would be much lower
. Leslie Cheung’s performance in the film is very generous and delicate, especially his use of body language, which can be said to be the pinnacle. Whether it is with a lover in bed or dancing with a lover in the kitchen, it is amazing. If you leave Leslie Cheung's performance, then this film will lack a lot of charm
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