In The Mood For Love part 4

Film: In The Mood For Love
Directed by Wong Kar-Wai
Hong Kong (2000)
Romantic Drama/Melodrama
10 parts/95 mins

In Cantonese with English subtitles (default)
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(Rated PG by MPAA)

Synopsis (contains some spoilers):

Set in Hong Kong in 1962, the film centers on two young couples who rent adjacent rooms in a cramped and crowded tenement. Li-zhen (Maggie Cheung) works as a secretary in an export company while her husband's job at a Japanese multinational keeps him away on extended business trips. Across the hall, Chow (Tony Leung Chiu-wai) works as a newspaper editor and is married to a woman who is also frequently out of town. Neither respective spouse is ever shown in full, instead they are shot from the back or obscured by walls and furniture. Li-zhen and Chow soon strike up a cordial -- if tenative -- friendship. Chow begins to suspect that his wife's long absences are not entirely business related when he stops in unannounced at her office to discover that she is not there. Later, a colleague tells him that he saw his wife with another man. The icing on the cake comes when Chow notices that Li-zhen's handbag is identical to his wife's while Li-zhen discovers that Chow is wearing a tie that she gave her husband; it doesn't take long for them to realize that their spouses are sleeping together. Drawn together by shame and anger, Chow and Li-zhen reveal nothing of their discoveries to their partners. While working through their guilt by imagining how their adulterous spouses first hooked up and rehearsing interrogations, the pair slowly fall in love in spite of their determination to uphold their end of their marital vows.

Review:

In the Mood for Love is a lushly romantic, intensely sensual film, even though the two principals rarely so much as hold hands onscreen. The leads are photographed to emphasize their movie star looks, and Tony Leung Chiu-Wai and Maggie Cheung each give the sort of performance in which a glance or gesture means more than much of the dialogue. Director Wong Kar-wai's use of color, music, and sound is simultaneously nostalgic and refreshingly original. The gorgeous photography pours color through each scene, making everything from Li-Zhen's extraordinary dresses to the drab hallways seem beautiful. One often thinks of great cinematography as being stunning scenery, but the canvas here is of alleys, stairways, cramped offices, and even more cramped apartments and is every bit as breathtaking, perhaps even more so because beauty has been found in the most unexpected of places.

Wong's use of tight shots and low lighting adds to the intimate atmosphere, as well as his reliance on a slow-moving camera that takes its time to absorb all that is going on, practically moving in sync with the music. Similarly, there is the continual presence of food. In scene after scene, the characters are either eating or preparing to eat, creating the feeling for the audience that they are peeking in on the characters' quieter, more personal moments. Throughout the film, what is unsaid is almost more important than what is actually said, and there is a sense that the film is a memory of one or both of the leads, looking back with regret at lost opportunities.
As always in Wong's films, movement is eroticised. But here, there's no rush, no dizzying climax to the movement. Instead, there is a more striking use of slow-motion images and of shots in which we see actors from behind as they move away from the camera's eye. In one emblematic shot, the camera hovers behind Maggie Cheung as she climbs the stairs to her apartment, her swaying hips sheathed in one of her many flowered cheongsams, her rice bucket dangling from her hand. The shot is repeated at least three times, each repetition accompanied by the same slow dissonant mazurka on the soundtrack. The music, the slo-mo, and the incongruity of the elegant dress and the clumsy rice bucket make the moment seem like a dream. The elusive, erotically charged, dreamlike quality of the film as a whole is heightened by the way shots are framed so that we always seem to be looking through doors or windows or down corridors to see the action, such as it is.

Category:

Film & Animation

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[camrey317]

my favorite part of this film...classic

[oyasinker]

song name: "muñequita linda" by Nat King Cole

[diegongan]

@truecolors19 it's called "Apuellos Ojos Verdes" from Nat King Cole

[naturalized]

@MADHotamale the setting, the music, but most of all...the way they eat and interact...:D makes you want to go to sleep doesnt it? I bet your endorphins are released watching them eat.

[truecolors19]

what's the song playing in the background?

[agirlnamednene]

Does the way that he put the mustard on her plate refer to something?

[MADHotamale]

5:11-6:55 is my favorite sequence in the whole film. I have no idea why.