Don’t Go Breaking My Heart 2
Pushes its insistent rhymings with the first film past any reasonable limit: this is no mere referentiality, but conscious inversion and recontextualization from the opening moments, a class-flipped take on the predecessor’s opening scene. That this transpires with the two new main characters, Yeung Yeung and Paul, lends a further unpredictable charge, and a few scenes pass before the original tripartite dynamic is even partially restored — Qi Hong, not coincidentally the most (relatively) stable and committed character of the madcap ensemble, only makes sporadic appearances, which only begin more than twenty minutes in. Instead, the love triangle takes place between the volatile Shen Ran and the two newcomers, yet parallels crop up: Paul spends much of the second half in a soused state heavily reminiscent of Qi Hong in his original state, complete with a penchant for Johnnie Walker; Shen Ran takes Yeung Yeung to the same restaurant where he botched his initial engagement, directly mentioning this fact and prolonging the inevitable conversation until after dessert; Paul cooks seafood for Yeung Yeung in his own relatively humble quarters. “I must have met you before” is said by the new characters multiple times, and in a sense it’s true; by the time the opening is reinvoked once more with Chi Yan sitting on the bus in tears and Shen Ran driving by her in a sports car, the viewer would be forgiven for a strong case of déjà vu.
And yet it feels all so new, or at least cyclical in a way that feels genuine. The economic aspect sets the tone: where the global crash acted as a plot catalyst in the predecessor, here the sudden downturns and upturns feel ultimately immaterial, as of little consequence to the viewer as to the characters, wrapped up as they are in their love affairs. And as lovely as Gao Yuanyuan is once more, and as hard Louis Koo pushes himself (to great and perfectly absurd effect), Miriam Yeung absolutely defines this film. The dichotomy between her severe “queen of the stocks” status and the devil-may-care attitude with which she throws herself into love couldn’t be clearer, and her acceptance of Shen Ran’s proposal halfway through somehow feels both so wrong and so right.
That paradoxical feeling resonates throughout this, a disquietude that intermingles with the euphoria emanating from To’s visual confidence and his ensemble cast’s overflowing charisma. In a sense, this is to be expected: both Chi Yan and Genie, the octopus acting as a feebler but still wonderful stand-in for Froggy, display a consistent sense of “reverse thinking,” predicting the exact wrong thing, which proves great for sports and stocks betting but only muddles the waters further in the games of love. The continual sense of things being not quite right maps onto the sense of entrapment or limbo here, as characters enact the same scenarios over and over. But at the same time there’s such joy, such genuine astonishment on display; the last shot suggests at once infinite heartbreak, bitter defeat, and a feeling that the war is not yet over, and may never be over. In that sense, it’s a perfect sequel, in the sense that it consciously expands the original, inverting and altering it to enrich both parts. It feels so carefully considered, yet so inventive and energetic in the undertaking, that it exists both separately and apart, inextricable and yet fully, gloriously alive.