Wild days

The story background in the 1990s and early 1960s reflects people's tired hearts.

Xu Zi (Leslie Cheung) is an immigrant from Shanghai. He has never seen his real mother, and he has adopted his mother since childhood. When he grew up, he became a rebellious young man, eager to fly, but only in this way did he become the son of a prodigal son. All the women I meet in my life are heartless. At the beginning of the plot, he hit back with the sound of shoes. Making fun of selling soda cups by buying soft drinks (Maggie Cheung); Living together, because she was getting married, they broke up.

I met a showgirl (Carina Lau) and lured her home with earrings. Girls can't get rid of it. Crooked boy (Jacky Cheung) Xu Zi climbed the window in the middle of the night and saw the showgirl, so she became the goddess in her heart, but she wouldn't accept him. This lady should make an appropriate compromise and return to Xu Zi. She refused and the pain was unbearable. She lost the talkative patrolman Super Man (Andy Lau). Xu Zi, because the foster mother deliberately refused to report to her biological mother, told her mother that they were in the Philippines, but the refusal was not a look. Xu Zi took a fake passport and went to America.

The policeman (Andy Lau), who has always had a crush on this lady, witnessed her and Xu Zi's rest and decided to change to a boat. In the Philippines, he met Xu Zi. At this time, Xu Zi was seriously injured in a fight in Europe. He watched Xu Zi die on the return train.

Movie characters, no complete story. The director's slave-driving actor, excellent artistic design and highly stylized photography directly cut into the inner world of the characters, and the audience obviously felt the role of atmosphere and passion.

Tony Leung Chiu Wai's last appearance in The True Story of Teddy Boy is a symbolic bird. Tony Leung Chiu Wai, a bird without feet, found a place to stay here.

In the 1960s, Alfie (or Leslie) Grace was decadent, and in Tony's decadent style, she was completely transformed into immortality that the world yearned for.

The rogue is no longer the distant mother at last, and the motherland has a sense of loss. Lonely narcissism lies in that it is no longer dancing on the balcony and pretending to stick to its bottom line coldly.

The rogue rubbed his hands excitedly and was excited about the colorful night vision of the upcoming luxurious rainbow. Although his head was carefully waxed and his handkerchief was carefully put in his suit pocket, he could hear the secret being shaken off and secretly snickered in the carnival night belonging to civilians. There is no romantic nostalgia and melancholy at home. Nihilism has conquered this immortal flying heart, and he is happy to embrace this night that belongs to nothingness.

After the 1960s, A Fei (played by Tony Leung Chiu Wai) didn't dance with the wind like Leslie Cheung did. He held a mirror and felt sorry for himself. His movements were all designed by Leslie Cheung. You should let him show his attractive figure, tighten his waist, spread his breath and stifle his hips. -A Fei in the 1960s may be a little hypocritical and sad in our imagination, like the clear yearning voice of the Beatles, like the water of Yin, covering the sky with photos of red cloth and lighting up your homesickness with yellow colors.

The sixties is a symbol, it is a dead end of revolutionary passion and romanticism, it is the last turning point before the world falls into midnight, staring at the proletarian revolutionary masses digging their own graves. At the end of the history of the Paris world in the 1960s, street fighting, the last hippies on the American West Road, and finally the South Vietnamese jungle spread drugs and tobacco. Although Hong Kong has no chance to experience that period of history, hooligans can still breathe the uneasy sea breeze from the Pacific Ocean and raise their heads alone to escape the rejection of public culture. There are really no words like nobility and revolution in the dictionary.

If Leslie Cheung is a cosmetic hidden behind a gorgeous coat, Tony is sad, but it doesn't hurt the music. There is no lewdness, light tobacco and cleanliness, and there is a sexy smell of soap and fragrance. Tony didn't smile and sway. He just wore a white shirt, a corner and a cigarette in his mouth, which was influenced by the air and his smell.

Tony Leung Chiu Wai is self but not narcissistic. His aristocratic arrogance, you know, as long as he doesn't write full of obsolescence on his face like Leslie Cheung, just like his white shirt shows his civilian status. You can feel a little depressed, but it is difficult for you to know whether he is depressed or not.

Tony's decadence is not arrogant. He himself was deeply immersed in the sofa. When your heart sinks and his eyes are fixed on you, you can see his eyes, loneliness and loneliness-the trance of "being free and living elsewhere", especially your heart, but you know that he is free and for reference only, and he doesn't believe in helpless yearning. Some unwilling body in Korea to worry about.

The truth about Tony. What is a country? The proportion and posture of the country to its body and eyes are just right.

Personality people are really pure impurities. They wear monophonic sunglasses. In the whole world events and time, people in the world don't have enough time and events, and their world is disappearing. People in the sky are in a state of unity of form and spirit. For example, in Tony's "Looking forward to the Dark Flower", the killer drove door to door in Macau Street, hitting the suspect's right hand, holding the bottle intact, watching, watching and watching again. It doesn't really matter what the hit is. Whatever it is, it is his own state that finally reaches him.

No one has seen Tony Li Xunhuan's flying handle. However, everyone in the Jianghu knows that Xiao Li's sword is more deadly than Teddy's.

Leslie Cheung is a gangster's sword, sharp, but not touching. You can tell that he is sincere by the scenes where he likes watching dramas, but you also know his distant hometown and posture. His lover is an escape speed-giving up the people he abandoned and alienating Ye people.

So Tony Leung Chiu Wai, Leslie Cheung and them.

Leslie Cheung will always be just a role on the stage of life, in their world, a clean, last and ugly world of the Three Kingdoms.

Wong Kar-wai didn't make a sequel, and Tony's last appearance in The True Story of Teddy Boy was an endless beginning. In fact, there is no need for Wong Kar-wai to make a sequel. The sequel hooligans live in this world, because our world is the sequel to the story of teddy boy.