Over the past few years, there has been an interest among filmmakers to explore the “anti-romantic comedy.” Though audiences may still favor sappy, cheesy, Nicholas Sparks-style romances (The Vow opened to $41 million, people), the romantic comedy is a struggling genre both critically and financially (see New Year’s Eve). Instead, intelligent filmmakers have opted to tell the stories of what happens when love does not conquer all. Eternal Sunshine of the Spotless Mind, Revolutionary Road and Blue Valentine all reached critical and slight commercial success due to their honest interpretations of the hardships of being in a relationship. However, this genre is not at all new. Cornell Cinema will be screening the über-sad 1997 Chinese film, Happy Together, directed by master filmmaker Wong-Kar Wai. Its brilliance will make you want to get a refund from whatever crappy romantic comedy you saw this month (again … *cough* … The Vow).

Part of Cornell Cinema’s Wong-Kar Wai film series, Happy Together tells the story of Lai Yiu-fai (Tony Leung) and Ho Po-Wing (Leslie Cheung), a gay couple that moves from Hong Kong to Argentina in order to revive their floundering relationship. Though over 11,000 miles away with a brand new start, Lai and Ho cannot break themselves from the cycle of breakups, emotional and physical abuse, and, eventually, reconciliation. When Lai meets Chang (Chang Chen), a kind and innocent immigrant from China, he wonders if there is more to life than constantly fighting with Ho.

Leung, who is arguably the finest Hong Kong actor of his generation, delivers an incredibly restrained, tender performance as lost soul Lai. While he stays mostly silent over the duration of the 96-minute movie, Leung is able to communicate years of sadness and isolation just through the look in his eyes. Cheung plays mean, playboy manipulator Ho with nuance, so much so that he almost makes you sympathize with his despicable character. Leung and Cheung have excellent chemistry as the doomed couple; their heated arguments, sexual tension and desperate attempts at love all stitch together a blanket of tragedy. Chen provides a serviceable supporting role as Chang and provides a nice foil to Ho. 

But the real star of the film is director Wong-Kar Wai. Wai, who won the Best Director prize at the 1997 Cannes Film Festival, is truly a master at work here. Combining his traditionally lush cinematography with a deeply personal story of what it means to be gay and in and out of love, the acclaimed Chinese director creates a beautiful portrait of human intimacy and nature. His choice to film in both black-and-white and color add to the dichotomous nature of Lai’s life: his past and his present, his public image and his private image and his love and his hatred always dueling for understanding. The setting of Argentina provides Wai with beautiful, colorful set pieces of both rural and urban areas of the country. Wai uses the flashy, neon lights of the bustling cities to contrast how sad and alone Lai is in Argentina; a gay man on the outcast of society, the cars and the people and the lights counter his deep isolation. The director also digs deep into the natural beauty of Argentina, for added symbolic effect. In a stunning minutes-long sequence, Wai films the wondrous, yet turbulent Iguazu waterfalls. The landmark, which was a place Lai and Ho dreamt of visiting, serves as a visualization of love, both violent yet beautiful, frightening yet thrilling, dangerous yet lovely. The magnificence of the shot rivals some of the best images in last year’s The Tree of Life by Terrence Malick. 

Another highlight of Happy Together is the soundtrack. Wai chooses to place an eclectic assortment of tunes that enhance the viewing experience and reinforce his themes. Chinese music is used to remind us of Lai’s forgotten past and all that he has left behind to attempt new beginnings with Ho. Since Lai acquires a menial job selling tickets to a tango-themed restaurant, the tango appears quite often as a musical accompaniment to the seductive and violent relationship between Lai and Ho. Wai even uses 20th century pop hits, including the 1967 Turtles’ song “Happy Together.” The song, which also gives the film its title, provides an illustration of Lai’s dreams of happiness for both him and Ho and serves as a question whether Lai will be able to love anyone else for the remainder of his life. 

Though much of Happy Together is quite depressing, it is in no way hard to watch. With Wai’s technological craftsmanship countered with Leung’s personal and moving work, the movie is an absolute wonder to watch. Our most talented directors seem to be moving towards more realistic, honest romances, and Happy Together is a wonderful milestone in the anti-romantic film canon.