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Wong's use of images for purely emotional photogenic value, feverish camera movements, jukebox soundtrack and his improvisation and experimentation with the actors have an effect reminiscent of Scorsese's Mean Streets. Rather than using dialogue, this highly stylized romance chiefly imparts its themes and moods through its images, and Wong fashions an interior audiovisual composition about the mood swings of a love affair. The visuals make the film come alive, and make material the displacement, and thus the unhinging, that the main characters feel from their surroundings and each other. Letting it yank you every which way is a raucous yet intriguing excursion, with fertile visual stylizations that trail you long after seeing the film, all with the impact to communicate directly with the heart. That is not to say, however, that the film even remotely knows the meaning of the phrase 'less is more.' You don't watch this film as much as seize on to it. There is no deep poetic interpretation of the story itself, but by leaving so much unsaid, writer-director Wong Kar-Wai doesn't make the misstep of suffocating his characters' relationship with trite soap dialogue. Wong doesn't front us any of the flickering that can still be struck between lovers who fight all the time. Happy Together is a throbbing, raw, and profoundly nostalgic lament from two displaced traveling Chinamen yearning for emotional soundness, for their homeland, and for each other.

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