Five literary works that left their mark on Wong Kar Wai's films

Within this piece, I've compiled a list of five creative works that Wong has cited as major influences. Despite Wong mentioning a far greater number of texts that inspired him in interviews over the years, I decided to select ones that had a direct influence on his films. I have chosen to focus on non-Chinese authors for two reasons. Firstly, many of the Chinese texts he mentions have limited English translation releases, or have not been translated into English at all. Secondly, I hope to showcase the diverse range of influences that Wong draws upon and how this diverse range of inspirations contributes to his style as well as strengthening his themes.

I have crafted this article for anyone with a keen interest in Wong’s films who finds his filmography too brief to satisfy their cravings.

1/ Heartbreak Tango (Novel) — Manuel Puig

Wong's second film, "Days of Being Wild," earned critical acclaim but fell short commercially compared to his debut, "As Tears Go By." This divergence led to Wong being perceived as affected and pretentious by audiences. Unlike "Tears," which adhered to the gangster genre, "Days" saw Wong delving deeper into themes of love and heartbreak while experimenting with narrative structure.

Wong credits Argentinian novelist Manuel Puig, particularly his work "Heartbreak Tango," for inspiring this narrative experimentation. Puig's non-linear storytelling and multi-perspective approach left a profound impact on Wong, shaping his signature style seen in "Days," where the absence of a central conflict or clear plot allowed for a loose and wandering narrative. Though this departure made Wong less commercially viable, it garnered critical acclaim.

However, the influence of "Heartbreak Tango" on "Days" extends beyond its narrative structure. Upon reading the novel, one can't help but notice striking similarities in plot, with the charming womanizer Juan Carlo from the novel clearly inspiring the heartbreaker Yuddy in "Days." Similarly, the dynamic of two women vying for Juan's affection, both harboring bitter jealousy towards each other, parallels the storyline in "Days." Additionally, the subplot involving Juan's less attractive friend falling in love with one of the women resonates with Yuddy's best friend, portrayed by Jacky Cheung, falling for Carina Lau's character.

Moreover, Yuddy's journey to the Philippines is a testament to Wong's admiration for Puig. "It was so Puig," Wong remarks in an interview. "For me, this film isn’t really about the Philippines, it’s about the Spanish — it was my tribute to all the Latin American writers who had inspired me." Wong's reverence for Latin American writers even extends to the film's soundtrack, featuring Latin-inspired music from the Philippines and Xavier Cugat's compositions.
Another Latin American writer who left a mark on the film is Gabriel García Márquez, specifically his work "Love in the Time of Cholera." Wong described Yuddy as akin to the cholera, an epidemic altering the lives of the two women in the film. He envisioned the narrative unfolding from their perspectives before and after encountering him. Once again, it's the unconventional narratives of Latin American literature that profoundly influence Wong's distinct storytelling.

Furthermore, Wong's affection for Latin America led him to set "Happy Together" in Buenos Aires, with the film's Chinese title sharing its name with a later Puig novel, "The Buenos Aires Affair." However, if one were to read just one Latin American novel that inspired Wong's films, "Heartbreak Tango" would be the choice.


2. Hear the Wind Sing / Pinball, 1973 (Novel) — Haruki Murakami

Haruki Murakami novels and Wong Kar Wai films share significant parallels. Firstly, as John Powers notes, "like Haruki Murakami (whom he admires), [Wong] bridges East and West." Murakami's works brim with references to Western music and films, a trait mirrored in Wong's films through the incorporation of Western music into his soundtracks, ranging from "Take My Breath Away" in "As Tears Go By" to Nat King Cole's melodies in "In the Mood for Love" and "2049."

Similarly, Murakami's characters savor Western food and drink, echoing the consumption of pasta, whisky, and spaghetti in Wong's films. This fusion of cultures enhances the international appeal of both artists' works, making their characters more relatable to Western audiences despite exotic settings.

Wong openly acknowledges Murakami's influence, particularly evident in "Chungking Express," where he humorously adopts Murakami's narrative style for Kaneshiro Takeshi's character. This stylistic resemblance, marked by philosophical reflections and a detached demeanor, underscores the influence of Murakami's protagonists.

Moreover, critics draw parallels between Murakami's "On Seeing the 100% Perfect Girl One Beautiful April Morning" and the theme of fleeting connections in "Chungking Express." Murakami's story, reflecting on missed opportunities with a potential love interest, resonates with Kaneshiro's near-miss encounters with Faye Wong's character, echoing Murakami's exploration of transient human connections.

3. Where I’m Calling From (Short Story Collection) — Raymond Carver

While Wong's works may seem dissimilar to Raymond Carver's at first glance, Wong has cited Carver as a direct influence on "Chungking Express." Although their settings and characterizations differ significantly—Wong depicts the fast-paced city life of Hong Kong, while Carver's stories unfold in destitute American cities and towns—their exploration of loneliness resonates. Wong's characters often feel alienated in the bustling city, whereas Carver's protagonists navigate desolate environments devoid of opportunity.

Despite these differences, Wong found inspiration in Carver's sparse prose and structure, particularly in structuring "Chungking Express" into short films and interconnecting characters, mirroring Carver's approach in his story collections. This fusion of influences heightens Wong's exploration of loneliness and lost connections.

While recommending Carver's stories to Wong fans may seem unconventional due to their stylistic disparities, Wong's own acknowledgment of Carver's influence warrants consideration. "Where I’m Calling From," Carver's compilation of stories, serves as a substantial introduction to his work, despite the apparent contrast with Wong's aesthetic.

4. A Streetcar Named Desire (Play) — Tennessee Williams

Wong has repeatedly lauded Tennessee Williams as his favorite American playwright, with a particular fondness for "A Streetcar Named Desire." In an interview with John Powers, Wong expressed admiration for Williams' raw and emotionally charged works, noting their warmth amidst the messiness. This sentiment resonates throughout Wong's films, where traces of "Streetcar's" influence can be discerned.

The oppressive heat and confined spaces evoked in "Streetcar" find parallels in Wong's works, such as Yuddy's sweaty confinement in "Days of Being Wild." Characters like Stanley Kowalski share similarities with Yuddy's criminal playboy persona, while emotional outbursts reminiscent of Williams' characters are prevalent in Wong's films.

The theme of characters trapped together, extracting their true emotions and raising tension, mirrors the crowded Hong Kong setting in Wong's films. This dynamic is exemplified in "In the Mood for Love," highlighting the challenge of maintaining secrets amidst overpopulation. Additionally, the strained familial relationships in Wong's works, such as Yuddy's with his adoptive mother, echo the dysfunctionality portrayed in "Cat on a Hot Tin Roof."

Despite plans for a Chinese adaptation of "Streetcar" never materializing, Wong's reverence for Williams is evident, from considering casting choices to incorporating elements of the play into his films. Even in his English-language film "My Blueberry Nights," Wong pays homage to Williams by featuring Memphis, a nod to the playwright's legacy.

5. Eight Million Ways to Die (Novel) — Lawrence Block