Walk on the Wild Side Director Wong Mixes Gangster Genre With Romance, Film Noir by Ky N. Nguyen Wong Kar-Wai, arguably the worldís most innovative filmmaker today, cemented his reputation as an international auteur with "Days of Being Wild," his 1991 sophomore effort (after the surprising success of "As Tears Go By"), in which he begins his extraordinary long-term visual collaboration with Australian-born cinematographer Christopher Doyle ("Hero"), an unparalleled master of light and color. The original Cantonese titleís literal translation, "The Story of Rebellious Youth," was the Hong Kong title of "Rebel Without a Cause," whose young charismatic star James Dean died a premature death. "Days of Being Wild" is filled with the specter of late Cantopop and Hong Kong movie star Leslie Cheung, who took his own life in 2003 (eerily evoking his characterís suicide in "Farewell My Concubine"). In 1960s Hong Kong, Yuddy (Cheung) is effortlessly cool as some sort of vague gangster. After learning heís not the natural child of the courtesan who raised him, Yuddy unsuccessfully fills his emotional displacement by having turbulent affairs with two beautiful but very different women (Maggie Cheung and Carina Lau). Alt hough he treats them badly, like everyone else around him, they are still seduced by his mysterious charisma. Haunted by the unattainable ideal represented by his birth mother, Yuddy flees to the Philippines in search of heróand his place in the world. Wong blends the gangster genre, in which heíd previously worked as a screenwriter, with elements of romance, noir and more. As in all of his films, Wong precisely manipulates his Proustian themes of time, memory and perception to present Yuddyís story. Admittedly, the fractured viewpoint, amid the filmís experimental narrative and leisurely pacing, is not easy to follow. Time often jumps with no warning. Despite the fact that it stars six of the most well-known pop stars in Hong Kong (and Asia), the film was commercially "a complete failure: In Korea, the spectators even threw things at the screen," said Wong in a French interview. In contrast, "Days of Being Wild" nearly swept the Hong Kong Film Awards and has been called the best Hong Kong film of the decade. Itís the first part of what is effectively a trilogy, continuing with 2000ís masterpiece "In the Mood for Love" and the highly anticipated "2046." "Days of Being Wild (A Fei Zheng Zhuan)" (Cantonese and Tagalog with subtitles; 94 min.) opens Friday, Feb. 4 at Landmarkís E Street Cinema. 4.5 stars. The Last Waltz As a born aristocrat turned communist, Italian director Luchino Visconti (ìDeath in Venice,î ìThe Damnedî) was uniquely positioned to adapt ìThe Leopard.î Giuseppe di Lampedusaís novel sentimentally chronicles the decline of Sicilian aristocracy in the 1860s during the Risorgimento (unification of Italy)ópropelled by Garibaldiís worker revolution and global geopolitics. Called the Leopard for his ability to adapt to shifting situations, the highly esteemed Prince Salina (Burt Lancaster) foresees that the nobilityís era of prominence is coming to an end. Even the princeís nephew/protÈgÈ (Alain Delon) joins Garibaldiís forces. With Salinaís blessing, his nephew marries the vivacious daughter (Claudia Cardinale) of a prominent merchant, flush with new money but lacking status under the rules of the soon-to-be outdated old regime. The film deliberately depicts the princeís melancholy acceptance of historyís inevitable march on time. Visconti has full control of the widescreen frameís visual elements, highlighted by the legendary 40-minute closing sequence of what will be the aristocracyís final grand waltz. Upon its U.S. release, Fox butchered the 1963 film with severe cuts, exacerbated by poor English dubbing. The current re-release restores integrity to the epic that won the prestigious Palme díOr at Cannes. ìThe Leopard (Il Gattopardo)î (Italian with subtitles; 185 min.; scope) plays Friday, Feb. 11 to Thursday, Feb. 24 at the AFI Silver Theatre. 4.5 stars. The Power of Music With "The Chorus (Les Choristes)," first-time director Christophe Barratier unexpectedly launched a cultural phenomenon. The film became one of the biggest hits in French history, spawning a popular revival of choral music. The featured boysí choir is now worshipped by the masses like a hip rock group, playing sold-out concerts in large arenas. In the United States, "The Chorus" seems enjoyable enough, but no more than a typically undemanding, feel-good Miramax movie with stock characters. Itís sort of a French "Mr. Hollandís Opus" or "School of Rock." The serviceable, if predictable, plot was inspired by the obscure French film "The Cage of Nightingales" and elements of co-writer Barratierís own experiences in boarding school. ClÈment Mathieu (GÈrard Jugnot), a failed musician, arrives at Le Fond de LíEtang ("rock bottom") to teach and supervise the boarding schoolís dormitory. The delinquent boysówho never seem quite that badóare perpetually rebellious to headmaster Rachinís (Francois BerlÈand) heavy discipline, dubbed "action-reaction." Although wearing the face of an angel, Pierre (newcomer Jean-Baptiste Maunier, now a superstar in France) is one of the biggest troublemakers. An illegitimate child, he has underlying resentment despite having a loving, beautiful motherówho serves as a love interest for the new teacher. Trying a different tack at discipline, Mathieu defies his self-imposed exile from music to start a student choir. Pierre turns out to have a mellifluous voice to match his appearance. Magically inspired by singing in Mathieuís choir, he and the other boys begin their expected though bumpy path to redemption. "The Chorus (Les Choristes)" (French with subtitles; 96 min.; scope) is now playing locally. 3 stars. Pacino Commands Screen as Shylock In William Shakespeareís "The Merchant of Venice," Al Pacino commands the screen as the angry Jewish moneylender Shylock. He seethes with vengeance from endless discrimination against him and his ancestors within Christian-dominated society throughout the centuries. The casual anti-Semitism taken for granted in 1596ís Venice and Shakespeareís time is shocking when displayed on screen today. To finance his penniless friend Bassanioís (Joseph Fiennes) courtship of Portia (newcomer Lynn Collins), the proud merchant Antonio (Jeremy Irons) comes to seek a loan from Shylock, whom Antonio has treated despicably. Shylock agrees only if the loan is secured with a pound of Antonioís flesh as collateral. Upon default, Shylock fully intends to collect. His fire for revenge is fueled further when his daughter runs away and elopes with a Christian. Pacinoís tour-de-force performanceóalthough a bit over the top as alwaysóleads competent acting by the principals, including Irons, Collins and Fiennes. The filmís visual opulence quite impressively recreates the decadence of Venice in the Renaissance. Credit goes to cinematographer BenoÓt Delhomme, production designer Bruno Rubeo and costume designer Sammy Sheldon. British writer-director Michael Radford ("Il Postino") gambles with difficult subject matter, only partially succeeding. Despite significant streamlining, the story doesnít quite flow smoothlyólargely a problem inherited from Shakespeareís play. Some elements seem forced and not quite convincing, including Portiaís pivotal legal arguments while disguised as a youthful male law scholar in the dramatic courtroom scene. "The Merchant of Venice" (English; 126 min.; scope) is now playing at the Avalon and Cinema Arts. 3 stars. Repertory Notes The National Gallery of Art presents LíImmagine RitrovataóRecent Restorations From La Cineteca di Bologna. The gallery also presents Metric and Metaphoric on Feb. 26 to 27, with Hungarian experimental filmmaker Peter Kubelka in person. ((202) 842-6799, www.nga.gov/programs/film.htm) French filmmaker AgnËs Vardaís retrospective continues. She appears in person with Feb. 18ís screening of "Jacquot" at the National Museum of Women in the Arts. ((202) 783-5000, www.nmwa.org) The Freer Gallery of Art concludes its Iranian Film Festival. The Freer also begins a series of films set in Asia by American maverick filmmaker Sam Fuller. ((202) 357-2700, www.asia.si.edu/events/films.asp) The American Film Institute completes its retrospective of Spaniard Pedro AlmodÛvarís later career, coinciding with the theatrical release of "Bad Education." AFI also presents a rare Nollywood series, showing video movies from Nigeria. "Sal ome" and "La Traviata" are shown in conjunction with the Washington Opera and receptions at the residences of the ambassadors from Germany and France, respectively. ((301) 495-6700, www.afi.com/Silver) Ky N. Nguyen is the film reviewer for The Washington Diplomat.