Happy Together (1997 film)

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Happy Together
Happy Together poster.jpg
MandarinChūnguāng zhàxiè
CantoneseCeon1 gwong1 za3 sit4
Literallyspring light at first glance
Directed byWong Kar-wai
Produced byWong Kar-wai
Written byWong Kar-wai
StarringLeslie Cheung
Tony Leung
Chang Chen
Music byDanny Chung
Tang Siu-lam
CinematographyChristopher Doyle
Edited byWilliam Chang
Wong Ming-lam
Distributed byKino International
Release date
  • 30 May 1997 (1997-05-30)
Running time
96 minutes
CountryHong Kong
Box officeHK$8,600,141 (HK)
$320,319 (US)[1]

Happy Together (春光乍洩) is a 1997 Hong Kong romance film directed by Wong Kar-wai, starring Leslie Cheung and Tony Leung Chiu-wai, that depicts a turbulent romance. The English title is inspired by The Turtles' 1967 song,[failed verification] which is covered by Danny Chung on the film's soundtrack; the Chinese title (previously used for Michelangelo Antonioni's Blowup) is an idiomatic expression suggesting "the exposure of something intimate".[2]

The film received positive reviews and screened at several film festivals; it was nominated for the Palme d'Or and won Best Director at the 1997 Cannes Film Festival.[3]

Plot outline[edit]

Ho Po-wing (Leslie Cheung) and Lai Yiu-fai (Tony Leung Chiu-wai), a couple from pre-handover Hong Kong, visit Argentina hoping to renew their ailing relationship. The two have a pattern of abuse, followed by breakups and reconciliations. One of their goals in Argentina is to visit the Iguazu waterfalls, which serves as a leitmotif in the movie.

Ho Po-wing bought a lamp with the Iguazu Falls on it, then the two decided to visit the falls together. During the ride, however, they get into an argument and break up. Lai is the more stable and committed of the two, and desires nothing more than a fairly normal life. He tries to deal with the break-up rationally and gets a job at a local nightclub. Ho has an extremely destructive personality and is not able to commit to a monogamous relationship. Ho seems to be motivated by both a need for attention as well as a need to simply hurt Lai. Ho picks up numerous other men, and even goes so far as to bring them to the club that Lai works at. Lai tries very hard to lead a normal life at this point, but is nearly driven to the edge of insanity by Ho; Lai eventually quits and beats a man with a bottle.

One day Ho Po-wing turns up severely beaten at Lai Yiu-fai's apartment, who takes him in and begins to take care of him. Ho's hands are injured so at this point, he relies on Lai for nearly everything. Initially, Lai works hard to keep Ho at bay physically and emotionally. However, in the end, they get back together. Their actions indicate a continual pattern of abuse, break-up, finally followed by reconciliation. As in the previous times, in the beginning Ho does try to make the relationship work, and the two seem genuinely happy. However, as Ho recovers, he begins again to pick up other men and ignore Lai. We see gradually the destructive side of Ho's personality taking over and the familiar cycle of mutual abuse and dependence starting again.

As Lai and Ho's relationship starts falling apart again, Lai befriends Chang, a fellow Chinese from Taiwan at work. In some sense, Chang is Ho's opposite. Whereas Ho is manipulative and volatile, Chang is straightforward and stable. After Ho fully recovers, he resumes his playboy lifestyle and leaves Lai. Lai copes with the loss by spending more and more time with Chang. It is hinted that Chang is also gay and attracted to Lai; Chang states in a voiceover that he likes 'deep, low voices' and is seen rejecting advances from an attractive female coworker. Chang's unassuming self-awareness and sincerity help Lai out of his depression, contributing to his eventual realisation that his relationship with Ho Po-wing is based on an ideal which no longer has any basis in reality. During one of their many conversations, Chang tells Lai that his goal is to reach the southern tip of South America where there is a lighthouse that can supposedly drop all sorrows. Eventually, Chang departs Buenos Aires and continues on this journey.

After Chang leaves, Lai sinks deeper into depression; he works various boring jobs in order make more money and eventually resorts to sexual encounters with other men in public restrooms and cinemas as a means to cope with his loneliness. He remarks in voice-overs at this point that in some sense he better understands Ho's promiscuity, as these encounters seem to be a way to numb the emotional pain.

We learn that earlier Lai had stolen a large amount of money from his father's associate's business back in Hong Kong, in order to finance the trip for himself and Ho to South America. His father rejects his attempt to apologise by telephone. On Christmas Day, he sits down and begins to write a card to his father. The card turns into a long letter. Lai apologizes to his father, and resolves to return to Hong Kong and deal with his past actions.

After a few months, Ho again contacts Lai to restart the cycle of abuse and destruction. But this time, Lai has the strength to avoid starting this cycle once again. He refuses to see Ho. While on the surface, Ho is angry about Lai's rejection, privately he also mourns this loss. Eventually, Lai finds the strength to visit the waterfalls and return to Hong Kong. On the way home to Hong Kong, Lai visits Taipei and seeks out Chang's family's noodle shop in the night market. He steals a picture of Chang as a remembrance.


Critical reception[edit]

Due to the international recognition that the film received, it was reviewed in several major U.S. publications. Edward Guthmann, of the San Francisco Chronicle, gave the film an ecstatic review, lavishing praise on Wong for his innovative cinematography and directorial approach; whilst naming Jack Kerouac and William Burroughs amongst those who would have been impressed by his film.[4] Stephen Holden, of the New York Times, said it was a more coherent, heartfelt movie than Wong's previous films, without losing the stylism and brashness of his earlier efforts.[5]

However, Jonathan Rosenbaum gave the film a mixed review in the Chicago Reader. Rosenbaum, in a summary of the film, criticised it for having a vague plotline and chastised Wong's "lurching around".[6] In Box Office Magazine, Wade Major gave the film one of its most negative reviews, saying that it offered "little in the way of stylistic or narrative progress, although it should please his core fans." He deprecated Wong's cinematography, labelling it "random experimentation" and went on to say this was "unbearably tedious" due to the lack of narrative.[7]

Wong, in regards to the interpretation of the film said:

"In this film, some audiences will say that the title seems to be very cynical, because it is about two persons living together, and at the end, they are just separate. But to me, happy together can apply to two persons or apply to a person and his past, and I think sometimes when a person is at peace with himself and his past, I think it is the beginning of a relationship which can be happy, and also he can be more open to more possibilities in the future with other people."[8]

Box office[edit]

During its Hong Kong theatrical release, Happy Together made HK $8,600,141 at the box office.[citation needed] The tally is unspectacular, but respectable given the subject matter and restrictive Category III rating; it was also typical of a Wong Kar Wai film.[citation needed]

Happy Together also had a limited theatrical run in North America through Kino International, where it grossed US $320,319.[9]


Happy Together has a 79% approval rating on Rotten Tomatoes[10] and a 69/100 weighted average on Metacritic.[11]

Awards and nominations[edit]

Awards and nominations
Ceremony Category Recipient Outcome
1997 Cannes Film Festival Best Director Wong Kar-wai[3] Won
Palme d'Or[3] Nominated
7th Arizona International Film Festival Audience Award – Most Popular Foreign Film Won
34th Golden Horse Awards Best Director Wong Kar-wai Nominated
Best Actor Leslie Cheung Nominated
Best Cinematography Christopher Doyle Won
17th Hong Kong Film Awards Best Film Nominated
Best Director Wong Kar-wai Nominated
Best Actor Tony Leung Won
Leslie Cheung Nominated
Best Supporting Actor Chang Chen Nominated
Best Art Direction William Chang Nominated
Best Cinematography Christopher Doyle Nominated
Best Costume and Make-up Design William Chang Nominated
Best Film Editing William Chang, Wong Ming-lam Nominated
4th Hong Kong Film Critics Society Awards Film of Merit Won
14th Independent Spirit Awards Best Foreign Film Nominated


  1. ^ "Happy Together (1997)". Box Office Mojo. 2 December 1997. Retrieved 20 January 2012.
  2. ^ Tony Rayns. "Happy Together (1997)". Time Out Film Guide. Archived from the original on 12 October 2008.
  3. ^ a b c "Festival de Cannes: Happy Together". festival-cannes.com. Retrieved 21 September 2009.
  4. ^ Edward Guthmann (14 November 1997). "Misery Loves Company in `Happy Together'". San Francisco Chronicle. Retrieved 20 January 2012.
  5. ^ "Help – The New York Times". Movies2.nytimes.com. Retrieved 20 January 2012.
  6. ^ Champlin, Craig. "Music, movies, news, culture & food". Chicago Reader. Retrieved 20 January 2012.
  7. ^ Sparktech Software LLC (10 October 1997). "Happy Together – Inside Movies Since 1920". Boxoffice.com. Archived from the original on 5 February 2010. Retrieved 20 January 2012.
  8. ^ Wong Kar-wai (27 October 1997). "Exclusive Interview" (Interview). Interviewed by Khoi Lebinh; David Eng. WBAI. Archived from the original on 14 May 2008. Retrieved 20 January 2012.
  9. ^ "Happy Together (1997) - Box Office Mojo". www.boxofficemojo.com. Retrieved 2 April 2018.
  10. ^ Happy Together (Chun gwong cha sit), retrieved 10 November 2017
  11. ^ Happy Together, retrieved 10 November 2017

External links[edit]