The Significance of Characters in The True Story of Teddy Boy

The story is set in the early 1960s, but it reflects the tired souls of people in the 1990s.

Xu Zi (Leslie Cheung) is an immigrant from Shanghai. He has never met his real mother and was raised by his adoptive mother since childhood. So, when he grew up, he became a rebellious young man, eager to fly high, but he was just a prodigal son. Be merciless to every woman you meet in your life. At the beginning of the play, he appeared in the background with the sound of shoes. Su Lizhen (Maggie Cheung), who borrows and sells soda; After living together, she broke up because she wanted to get married.

I met a showgirl (Carina Lau) and lured her home with earrings. This girl can't extricate herself. Waizai (Jacky Cheung) climbs into Xuzai's house from the window in the middle of the night and meets a showgirl, who becomes the goddess in her heart, but she will never accept him. Su Lizhen hopes to make a compromise and return to Xu Zi's side. After being rejected, it is difficult to restrain the pain of lovelorn, and confide to the policeman Chao Zi (Andy Lau) who patrols at night. Because the foster mother refused to tell her where her biological mother was, Xu Zi deliberately opposed her and learned that her biological mother was in the Philippines, but she was rejected and never seen again. Xu Zi took a fake passport and wanted to go to America.

The policeman (Andy Lau) who has a crush on Su Lizhen witnessed the break between Su Lizhen and Xu Zi and decided to switch to sailing. In the Philippines, he saw Xu Zi again. At this time, Xu Zi was seriously injured in a European war. He watched Xu Zi die on the train home.

This film has only characters, but no complete story. The director and slave-driving actor directly cut into the inner world of the characters with excellent art design and very fashionable photography, so that the audience can clearly feel the environmental atmosphere and the passion of the characters.

Tony Leung Chiu Wai's final appearance in The True Story of Teddy Boy is symbolic. The bird with no feet found a resting place here in Tony Leung Chiu Wai.

In the 1960s, the elegance and decadence of A Fei (or) and the immortal aristocrats longed for the complete decadence of civilians here in Tony Leung Chiu Wai.

Teddy boy finally stopped feeling inexplicably disappointed with his distant mother and hometown, stopped dancing on the balcony, and stopped pretending to stick to his bottom line indifferently.

Teddy boy is ready to go with great interest, jumping for the coming colorful night. Although he has meticulously waxed his head and carefully stuffed a handkerchief into his suit pocket, you can still hear him secretly whistling and snickering. This is a carnival night for civilians. Since then, there has been no romantic nostalgia and melancholy for returning home. Nihilism conquered this immortal flying heart, and he happily embraced this night that belongs to nothingness.

After the sixties, Teddy boy (Tony Leung Chiu Wai) would not dance in the wind like Leslie Cheung, look at the mirror and feel sorry for himself, and design actions for Leslie Cheung, so he had to show his seductive figure by twisting his waist and buttock, giving off a sweet and suffocating smell-that's not because Teddy boy in the sixties brought a little affectation, sadness and self-pity in our imagination, just like the clear and disappointed voice of the Beatles.

The sixties is a symbol, the last light of revolutionary passion and romanticism, and the last gaze of the world before it falls into the night. The proletarian revolutionary masses dug their own graves with their own hands, and the world history ended in the street fighting in Paris in the 1960s, in the drugs and tobacco of hippies on American western highways, and in the jungle of South Vietnam where wet poison spread. A Fei in Hong Kong has no chance to experience history, but he can still breathe the restless sea breeze blowing from the Pacific Ocean, fly away alone, hold his head high and reject civic culture. From then on, there are really no words like nobility and revolution in the dictionary.

If Leslie Cheung is a powder hiding behind a gorgeous coat, then Tony Leung Chiu Wai is sad but not lascivious, with a touch of tobacco flavor and clean soap fragrance. Tony Leung Chiu Wai don't have to smile. All he has to do is stand in the corner in a unchanging white shirt, and then smoke a cigarette at the corner of his mouth to make the air smell of him.

Tony Leung Chiu Wai is self but not narcissistic. There is no aristocratic pride in his blood. You know that's how he grew up. He doesn't write a lot of inappropriate things on his face like Leslie Cheung, and his civilian status is as clear as his white shirt. You can feel that he is a little depressed, but it is difficult for you to figure out what he is depressed about.

Tony Leung Chiu Wai's decadence is neither arrogant nor impetuous. Your heart sank when he was deeply immersed in the sofa. When he stares at you with his eyes, you can see the loneliness and loneliness in his eyes-the detachment and trance of "living elsewhere" especially makes you move, but you know that he is just wandering and helpless, but he is not willing to live in Cao Cao's heart.

Tony Leung Chiu Wai is a real person. What is a country? A state is the scale and posture of your body and eyes.

People in the state are really pure and have no impurities. They look at the events and time of the whole world with sunglasses of a single color, so there is no time and events in the world of a state person, and his world is a world where all events and time have been erased. In this state, man and nature are one, and God and form are one. Just like Tony Leung Chiu Wai in "The Dark Flower", he smashed the suspect's right hand with a good wine bottle when he was driving from door to door on Macau Avenue to find a killer, once, once and again. Actually, it doesn't matter what he throws. What's important is that no matter what he throws, he will end up throwing himself, his own state.

Tony Leung Chiu Wai is a flying knife in Li Xunhuan's hand, and no one has ever seen it. But everyone in the Jianghu knows that Xiao Li's flying knife is more lethal than Teddy's sword.

Leslie Cheung is a long sword in teddy boy's hand, sharp but not touching. Watching him is like watching a play. You know his sincerity, but you also know his indifference and posturing. What he loves is the speed of leaving the world-self-destruction.

So Tony Leung Chiu Wai is us and Leslie Cheung is them.

In their world, Leslie Cheung is always just a role on the stage, romanticizing the world in life, beautiful, pure and ugly.

Wong Kar-wai didn't make a sequel to The Story of Teddy Boy, and Tony Leung Chiu Wai's last appearance in The Story of Teddy Boy ended without beginning. In fact, Wong Kar-wai doesn't need to make a sequel, because the punk in the sequel lives in this world, because our world is the world in the punk sequel.