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Starring
:
Takeshi
Kaneshiro
Gigi
Leung
Edmund
Chen
Terri
Kwan
Hui
Siu-Hung
Lam
Suet
Producer
:
Johnnie
To
Wai
Ka Fai
Daniel
Yun
Director
:
Johnnie
To
Wai
Ka Fai
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TURN
LEFT, TURN, RIGHT
(2003)
Reviewed
by Andrew Saroch
Yet
another electric year for Johnnie To and Wai Ka Fai's 'Milkway
Productions' saw the release of such diverse features as 'Love
For All Seasons', 'Running
On Karma' and this splendid production. An adaptation of
Jimmy Liao's graphic novel, 'Turn Left, Turn Right' is one of
the most delightful and genuinely disarming productions to
have come out of Hong Kong in the past few years.
Set
in Tai Pei, 'Turn Left, Turn Right' follows the story of
aspiring violinist John (Kaneshiro) and shy translator Eve
(Leung). The two go about their daily lives blissfully unaware
that they live next door and only meet accidentally in the
park one day. As their meeting progresses, both of them
realise that they have met previously; a long journey on the
train saw their two respective schools meeting and John and
Eve slowly falling for each other. Unfortunately, neither of
them knew the other's name and so they have drifted apart
until this fateful day. Determined to stay with their soulmate,
John and Eve exchange numbers and resolve to meet again for
another date soon. Yet again though, a cruel twist means that
both of them lose contact and are frustrated that they have no
obvious means of meeting again. Broken-hearted, John and Eve
try desperately to find the other in Tai Pai and, ironically,
the incidents that occur along the way are almost identical.
To add further stress to the situation, John and Eve are then
the respective subjects of unwanted affection: John is
'stalked' by a feisty young woman who works at the local fast
food outlet while Eve is targeted by an amorous doctor who she
went to college with. The search continues despite these
obstacles, though things continue to look bleak for the young
lovers ever meeting again.
On
the surface, 'Turn Left, Turn Right' is a romantic comedy that
is too preposterous and reliant on coincidence to succeed. The
idea that two people could live next door for so long and be
so determined to find each other without ever casually bumping
into one another is difficult to swallow. However, to try to
examine it with this line of thought is futile as much of the
winning charm of the story is reliant on a feint touch of
surrealism. The intention is to carve out a simple tale about
the frustrations of meeting that someone special and in this
area Johnnie To and Wai Ka Fai succeed with laudable aplomb.
The
general premise of 'Turn Left, Turn Right' is given life by
its sublime set of characters and, of course, the gifted
performers behind them. John and Eve are an affectionate and
thoroughly winsome couple of lovers, full of subtle
inadequacies and quirks, yet always believable. Characters who
are slightly nervy and, to some, neurotic are very difficult
to write as the audience can often feel slightly bored by any
overuse of 'kookiness'. John and Eve manage to avoid any of
these difficulties and the results make 'Turn Left, Turn
Right' the achievement it is. Beyond our heroes we can also
savour two amusing supporting players who add a zestful energy
to the storyline. Not only is the actual characterisation
superior, but the performances are especially noteworthy.
Takeshi Kaneshiro has rarely been as fascinating as he is
here; his performance is similar to the one he gave in 'Anna
Magdalena', full of nuances that make him a very sympathetic
individual. Gigi Leung also shines as Eve, managing to radiate
vulnerability with a radiant beauty that she has only briefly
succeeded in combining before.
'Turn
Left, Turn Right' makes good use of its relatively exotic
setting, utilising luscious photography and a pleasing use of
its Tai Pei setting. The obvious fact that the narrative takes
place away from the usual Hong Kong city landscapes gives
everything a fresh feel that undoubtedly adds to the overall
energy of Johnnie To/Wai Ka Fai's stellar efforts. There's
also some sweeping crane shots to admire; these aesthetic
strengths are further indications that this is a production
that oozes quality and sophistication. 'Turn Left, Turn Right'
excels in most departments and it's always comforting to see
such care and attention taken in front of and behind the
camera.
In
the final analysis, 'Turn Left, Turn Right' is a minor
miracle. It's difficult to avoid over-gushing praise, but this
is a sweet, enchanting romantic comedy that has enough moments
of genuine empathy to fill a dozen lesser films. In an age
where 'sweet film' has almost become a derogatory term, 'Turn
Left, Turn Right' is a cinematic joy that is touching, amusing
and uplifting. Any film that can combine all of these virtues
is worthy of praise - it's no surprise then that I have given
this gem the highest mark I can bestow.
Rating:
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