Wong Kar Wai, the visionary Hong Kong auteur, has redefined global cinema with his poetic visual storytelling, but what truly elevates his films into timeless masterpieces is his masterful use of music and colour. Renowned for classics like In the Mood for Love (2000) and Chungking Express (1994), Wong doesn’t treat music as mere background noise — it’s a vital narrative force, weaving through his lush cinematography and restrained dialogue to evoke longing, nostalgia, and the chaotic pulse of urban life. Let’s dive into the soundscapes of Wong Kar Wai’s films and uncover how his sonic alchemy creates immersive emotional experiences and is a fundamental part of his cinematographic language.

1. The Role of Music in Wong Kar Wai’s Films

Music as a Narrative Device

In Wong’s cinematic universe, music functions as an unspoken character. It bridges gaps in dialogue, reveals emotional subtext, and invites the audience into the psyches of his protagonists. Consider In the Mood for Love, where the recurring motif of “Yumeji’s Theme” by Shigeru Umebayashi haunts the film like an echo of repressed desire. Similarly, the pop tracks in Chungking Express sweeten the chaotic, neon-drenched streets of Hong Kong, and underscore the hesitant and dreaming hearts of its characters.

Collaborations with Composers

Despite frequent collaborations with cinematographer Chris Doyle, Wong relies on a diverse range of composers to score his films. Shigeru Umebayashi (In the Mood for Love), Frankie Chan (Chungking Express), and Michael Galasso (Fallen Angels) create original compositions that blend seamlessly with curated pre-existing tracks. Wong juxtaposes these scores with iconic songs — The Mamas & The Papas’ “California Dreamin’” becomes Faye Wong’s wistful anthem for escape in Chungking Express, while Nat King Cole’s Spanish ballads in In the Mood for Love cloak unspoken emotions in sophistication.

Mood and Atmosphere

Wong’s soundtracks are tactile, shaping the very essence of his films. The electronic beats in Fallen Angels (1995) intensify its fragmented structure and neon-lit alienation, while the tango in Happy Together (1997) embodies the push-and-pull of a toxic romance. For Wong, music doesn’t simply accompany visuals — it transforms them, as the location, the action, or the colours.

The scene track is not the original "Karmacoma" from Massive Attack but a cover from an asian artis. Even on the internet it is very difficult to find it...

2. Key Aspects of His Music Selection Process

1. Pre-existing Tracks as Mood Anchors

Wong often curates pre-existing songs rather than commissioning original compositions, as he finds it challenging to communicate his vision to musicians. These tracks, ranging from Latin ballads to Cantonese pop, become integral to the narrative, shaping the emotional landscape of his films. For example, the recurring use of “Yumeji’s Theme” in In the Mood for Love was played during filming to immerse the cast and crew in the waltz’s melancholic atmosphere, influencing the visual rhythm and pacing.

2. Latin Music and Nostalgia

Wong’s affinity for Latin music, influenced by his childhood experiences in Hong Kong, probably influenced by the HK Filipino’s music, is a recurring theme in his work. Tracks like Xavier Cugat’s “Perfidia” in “Days of Being Wild” and Nat King Cole’s Spanish ballads evoke a sense of longing and nostalgia, often reflecting the characters’ unspoken emotions24.

3. Music as Non-Verbal Dialogue

Wong transforms music into a form of non-verbal communication, amplifying the emotional resonance of his scenes. It doesn’t take long to realise that music is a vital organ in Wong’s narrative, pulsating with life and emotion on its own and channelling the ineffable into something tangibly poignant.

It is this mastery over the unseen and the unspoken that makes his cinema an evocative, unforgettable experience.

And it’s precisely this sense of “tangibility” that makes music in Wong’s cinema so evocative: it can fit a character like a garment or expose their feelings like an intimate 5-minute monologue.

4. Transnational and Gendered Perspectives

Wong’s soundtracks often blend diverse musical genres and cultural influences, creating a transnational appeal. He uses music to privilege female subjectivity, as in “Chungking Express”, with tracks serving as extensions of his female characters’ voices and desires.

5. Period Music in Contemporary Settings

Wong frequently employs old or contemporary music in films set in different eras, adding layers of ambiguity and complexity. This approach, as he describes, acts like a “filter that tints everything in a different shade,” enriching the narrative’s emotional depth.

By integrating music so intimately into his film-making process, Wong Kar Wai creates soundscapes that are not just accompaniments but essential components of his cinematic storytelling, enhancing the emotional and thematic resonance of his work.

3. Iconic Soundtracks: A Few Cases

In Wong Kar Wai’s films, music is not just an accompaniment but a vital narrative tool that sets the mood and amplifies the emotional depth of his stories. Here are some key examples:

1. Chungking Express (1994)

• “California Dreamin’” by The Mamas & The Papas: This track, repeated throughout the film, mirrors Faye Wong’s character’s daydreams of escape and her longing for a different life. Its upbeat tempo contrasts with the loneliness of the characters, creating a bittersweet mood that captures the restless energy of urban Hong Kong.
  
• “Things in Life” by Dennis Brown: The reggae tune, played repeatedly in the bar, grounds the film in Hong Kong’s multicultural identity while also reflecting the cyclical, almost mechanical nature of the characters’ lives.
  

2. In the Mood for Love (2000)

• “Yumeji’s Theme” by Shigeru Umebayash: The haunting waltz underscores the restrained yearning between the protagonists, Maggie Cheung and Tony Leung. Its melancholic strains amplify the film’s themes of unspoken desire and missed connections
• Nat King Cole’s Spanish ballads (“Quizás, Quizás, Quizás”) These elegant tracks cloak the characters’ emotions in sophistication, while the lyrics, meaning “Perhaps,” reflect their perpetual uncertainty and emotional distance.

3. Fallen Angels (1995)

• “Because I’m Cool” by Noh Young-shim and “Kong Kong” by Frankie Chan

The grunge and electronic music amplify the film’s fragmented structure and neon-lit alienation, creating a sense of disconnection and surrealism.

• “忘不了” (Can’t Forget)

The karaoke scene set to this track becomes a surreal expression of unrequited love, blending humor with deep emotional resonance.

4. Happy Together (1997)

• “Tango Apasionado” by Astor Piazzolla

 The tango’s volatility mirrors the tumultuous, on-again-off-again relationship between Leslie Cheung and Tony Leung’s characters, embodying both passion and conflict.

• “Happy Together” by The Turtles: 

The ironic use of this upbeat track underscores the characters’ inability to coexist, highlighting the dissonance between their desires and reality.

5. Days of Being Wild (1990)

• “Maria Elena” by Xavier Cugat

 The Latin ballads evoke a sense of longing and unspoken emotions, particularly in Leslie Cheung’s character, whose impassive exterior masks deep yearning.

In each of these examples, Wong Kar Wai uses music to transcend traditional dialogue, creating immersive emotional experiences that linger long after the film ends. His soundtracks are not just background noise but essential elements that shape the mood, atmosphere, and narrative of his films.

4. Thematic Analysis of Music in Wong’s Cinema

Nostalgia and Memory

Music becomes a time machine in Wong’s films. “Yumeji’s Theme” evokes a bygone era of Shanghai, while Latin tracks in Happy Together reflect diasporic longing. Wong uses music to transport both characters and audiences to unresolved pasts.

Urban Isolation

The clash of Cantopop and ambient noise in Chungking Express mirrors Hong Kong’s crowded solitude. Wong’s soundtracks highlight the paradox of loneliness in a bustling metropolis.

Love and Longing

The tango in Happy Together embodies both passion and conflict, while Nat King Cole’s ballads in In the Mood for Love turn silence into poetry. For Wong, music articulates what words cannot.

5. Impact on Cinema and Pop Culture

Influence on other Filmmakers

Wong’s sonic mastery has inspired countless directors. Sofia Coppola’s Lost in Translation (2003) channels the existential drift of Chungking Express, while Barry Jenkins’ Moonlight (2016) mirrors Wong’s use of music as emotional shorthand. Pedro Almodóvar, too, shares Wong’s passion for blending music with storytelling. Directors like Quentin Tarantino have praised Wong’s evocative use of pop music, and filmmakers such as Damien Chazelle (La La Land) and Greta Gerwig (Lady Bird) have acknowledged his influence on their work.

Cultural Legacy

Wong’s soundtracks have found new life on Spotify playlists and vinyl reissues, while TikTok trends resurrect classics like “California Dreamin’” for a new generation of dreamers.

Academic Relevance

Universities dissect Wong’s soundtracks in courses on film-music symbiosis, solidifying his work as a cornerstone of cinematic studies.

6. Epilogue: Almodovar’s influences in Wong’s Cinema (and Vice-versa).

There is a strong connection between Almodóvar and Wong Kar-wai. They admire each other, and this shows in their similar styles and influences. For many authors, Almodóvar and Wong might have influenced each other. For Asian viewers who know Wong’s style, the similarities between him and Almodóvar might make Almodóvar’s movies easier to enjoy. This exchange of cultural ideas (cross-pollination) has likely helped Almodóvar’s films become popular in Asia, especially in Hong Kong and Taiwan. Almodóvar’s films spread easily in Taiwan. Let’s see some similarities in their way of filming.

1. Visual Style and Color
Almodóvar’s use of vibrant, saturated colours to convey emotional intensity and thematic depth has influenced Wong Kar Wai’s visual palette. Wong’s films are renowned for their rich, bold colours—like the recurring reds and greens that symbolise passion and repression. This approach mirrors Almodóvar’s signature style, where colors are not merely decorative but integral to the emotional and narrative fabric of the film.

2. Focus on Female Characters
Both directors are celebrated for their nuanced portrayals of women. Almodóvar’s films often center on complex female protagonists navigating societal expectations, as seen in All About My Mother (1999) and Volver (2006). Similarly, Wong’s In the Mood for Love and Chungking Express (1994) delve deeply into the emotional lives of women, portraying their desires and vulnerabilities with sensitivity. This shared emphasis on female subjectivity highlights their mutual interest in character-driven storytelling.

3. Music as Narrative Tool
Almodóvar’s eclectic soundtracks, which often include Spanish ballads and pop music, serve as a narrative device to amplify emotions and themes. Wong Kar Wai’s use of music, such as Nat King Cole’s Spanish ballads in In the Mood for Love and The Mamas & The Papas’ “California Dreamin’” in Chungking Express, similarly underscores the emotional landscape of his films. Both directors use music to transcend traditional dialogue, creating a richer, more immersive experience.

4. Themes of Love and Isolation
Both auteurs explore the complexities of love and the isolation that often accompanies it. Almodóvar’s Talk to Her (2002) and Wong’s Happy Together (1997) delve into the intricacies of relationships, portraying both the beauty and pain of human connection. Their films often depict characters grappling with unfulfilled desires and societal constraints, creating a poignant commentary on the human condition.

5. Non-linear Storytelling and Ambiguity
Almodóvar’s use of non-linear narratives and complex storytelling structures, as seen in Broken Embraces (2009), has influenced Wong’s approach to filmmaking. Wong’s films, such as Chungking Express and 2046 (2004), often feature fragmented narratives and ambiguous endings, challenging traditional storytelling conventions and inviting viewers to engage more deeply with the material.

While Wong Kar Wai and Pedro Almodóvar each have their own distinct cultural and thematic focuses, their mutual influence is evident in their shared commitment to bold visual aesthetics, complex characters, and emotionally resonant storytelling. This creative dialogue has enriched both their works and contributed to their status as iconic auteurs in world cinema.

Wong Kar Wai’s soundtracks are more than just musical accompaniments — they are the very soul of his films. By entwining music into the emotional fabric of his narratives, Wong invites audiences to feel deeply, remember vividly, and view the world through a lens of lyrical beauty. Each rewatch unveils new sonic layers, making his films resonate long after the credits roll.

To Know more….

1. https://wkwclub.com/blogs/infos/exploring-the-soundtracks-of-wong-kar-wais-films
2. https://theasiancinemacritic.com/2024/08/28/why-does-wong-kar-wai-continue-to-influence-us-after-so-many-years/
3. https://independent-magazine.org/2025/03/08/independent-inspiration-from-the-work-of-wong-kar-wai-and-the-hong-kong-new-wave/
4. https://www.youtube.com/playlist?list=PLoI6dOUelQ5tJDH1UW-yRbMLn5pz8NWby
5. https://www.bfi.org.uk/features/wong-kar-wai-music-soundtracks
6. https://filmfreedonia.com/wp-content/uploads/2021/12/roderick-heath-film-writing-2021.pdf
7. https://open.spotify.com/playlist/5IAnimqltm3nAg924Ox3US
8. https://wkwclub.com/blogs/infos/how-does-wong-kar-wai-make-a-film
9. https://nightfirehorse.wordpress.com/2021/01/31/love-and-distance-the-art-of-wong-kar-wai/
10. https://www.soundoflife.com/blogs/people/wong-kar-wai-music