Based on a book by Jimmy Liao called "A Chance Of Sunshine", as we enter Taipei during bad weather conditions, basically the only spots of colour are our leads, mostly referred throughout the film by their old school id numbers 763092 (Takeshi Kaneshiro) and 784533 (Gigi Leung). Having once been infatuated by each other as kids, meeting on a similar note in Taipei as adults, violinist 763092 and translator 784533, synch up totally but fate hands them an awful blow when their exchanged phone numbers gets smudged by rain drops. And fate isn't done with them as they never seems to be able to reach other, despite being so close. And that's literally because they are also next door neighbours...

They are certainly two distinctive spots of colour in Taipei but also children in the city. Trying to make careers out of their respective talents, they initially have to settle for a low choice. He plays "Happy Birthday" at a restaurant and she translates German horror novels that she engages in far too deeply. But none of that matters during the meeting at a little lake at a park. OF COURSE they meet in a similar fashion as when they were young, OF COURSE they are synced up to almost surreal levels and OF COURSE you could argue the little connections the events have to proper reality. But the Milkyway stable of writers are damn fine, old fashioned romantics about it all, injecting a classic sweetness over the whole puppy love and with that, director Johnnie To and Wai Ka-Fai begin their journey that will make their true versatility come to life in a romance vehicle finally.

There's no shortage of fine atmosphere as the sweet piano score by Chung Chi-Wing and Ben Cheung drowns us and Cheng Siu-Keung's camera sweeps over Taipei in a loving way. And why this romance that has the word fluff glued to it is valid in a manner that others aren't, is due to an intention that doesn't scream lazy but instead dedicated right from the playful heart. Having cast Takeshi Kaneshiro and Gigi Leung as basically two flimsy children adds to a spot on charm that is structurally broken when Dr. Wu (Edmund Chen) and Ruby (Terri Kwan) are introduced to claim THEY are the fated lovers of our actual fated lovers. Beginning their abuse of the audience, our co-directors ventures into slippery territory by making these two rivals of the puppy love aggravating, annoying and totally unrealistic. But you get a sense of rule breaking in the most positive of ways in the film because even the light beginning is so perfect, it must be set in another dimension. Hence us having to deal with characters like Dr. Wu and Ruby, hence playing on the fact that we can switch off concerns of reality for a bit and hence playing on the fact that the latter stages contain both equal doses of reality and movie.

Because fate deals you a wonderful set of cards at times that means you have to perform change in order to further yourself and Turn Left Turn Right indeed argues that this flinging about of the emotions of the audience is very healthy. Plus, it's engaging to the full, old fashioned, mixed up in a risky but ultimately totally pleasurable manner that has now turned around a die hard hater of any Milkyway output not dealing in darkness. That's how much heart Johnnie To and Wai Ka-Fai put into Turn Left Turn Right.

Set in Tai Pei, 'Turn Left, Turn Right' follows the story of aspiring violinist John (Kaneshiro) and shy translator Eve (Leung). The two go about their daily lives blissfully unaware that they live next door and only meet accidentally in the park one day. As their meeting progresses, both of them realise that they have met previously; a long journey on the train saw their two respective schools meeting and John and Eve slowly falling for each other. Unfortunately, neither of them knew the other's name and so they have drifted apart until this fateful day. Determined to stay with their soulmate, John and Eve exchange numbers and resolve to meet again for another date soon. Yet again though, a cruel twist means that both of them lose contact and are frustrated that they have no obvious means of meeting again. Broken-hearted, John and Eve try desperately to find the other in Tai Pai and, ironically, the incidents that occur along the way are almost identical. To add further stress to the situation, John and Eve are then the respective subjects of unwanted affection: John is 'stalked' by a feisty young woman who works at the local fast food outlet while Eve is targeted by an amorous doctor who she went to college with. The search continues despite these obstacles, though things continue to look bleak for the young lovers ever meeting again.

On the surface, 'Turn Left, Turn Right' is a romantic comedy that is too preposterous and reliant on coincidence to succeed. The idea that two people could live next door for so long and be so determined to find each other without ever casually bumping into one another is difficult to swallow. However, to try to examine it with this line of thought is futile as much of the winning charm of the story is reliant on a feint touch of surrealism. The intention is to carve out a simple tale about the frustrations of meeting that someone special and in this area Johnnie To and Wai Ka Fai succeed with laudable aplomb.

The general premise of 'Turn Left, Turn Right' is given life by its sublime set of characters and, of course, the gifted performers behind them. John and Eve are an affectionate and thoroughly winsome couple of lovers, full of subtle inadequacies and quirks, yet always believable. Characters who are slightly nervy and, to some, neurotic are very difficult to write as the audience can often feel slightly bored by any overuse of 'kookiness'. John and Eve manage to avoid any of these difficulties and the results make 'Turn Left, Turn Right' the achievement it is. Beyond our heroes we can also savour two amusing supporting players who add a zestful energy to the storyline. Not only is the actual characterisation superior, but the performnces are especially noteworthy. Takeshi Kaneshiro has rarely been as fascinating as he is here; his performance is similar to the one he gave in 'Anna Magdalena', full of nuances that make him a very sympathetic individual. Gigi Leung also shines as Eve, managing to radiate vulnerability with a radiant beauty that she has only briefly succeeded in combining before.

'Turn Left, Turn Right' makes good use of its relatively exotic setting, utilising luscious photography and a pleasing use of its Tai Pei setting. The obvious fact that the narrative takes place away from the usual Hong Kong city landscapes gives everything a fresh feel that undoubtedly adds to the overall energy of Johnnie To/Wai Ka Fai's stellar efforts. There's also some sweeping crane shots to admire; these aesthetic strengths are further indications that this is a production that oozes quality and sophistication. 'Turn Left, Turn Right' excels in most departments and it's always comforting to see such care and attention taken in front of and behind the camera.

In the final analysis, 'Turn Left, Turn Right' is a minor miracle. It's difficult to avoid over-gushing praise, but this is a sweet, enchanting romantic comedy that has enough moments of genuine empathy to fill a dozen lesser films. In an age where 'sweet film' has almost become a derogatory term, 'Turn Left, Turn Right' is a cinematic joy that is touching, amusing and uplifting. Any film that can combine all of these virtues is worthy of praise - it's no surprise then that I have given this gem the highest mark I can bestow.