"No, I just have nothing to do, I watched a movie"

Kraig 2022-04-19 09:01:43

Four and a half stars.

There are spoilers, but it feels like the film of the King of Sunglasses... Actually, there is nothing to reveal. (If you only like drama films, you may find this film boring, because it doesn't have much plot at all, and it mainly conveys a mood)

I don't really like the concept conveyed by the whole story, but the configuration of the whole film is really great, from Maggie Cheung and Tony Leung's acting skills to Mei Linmao's soundtrack to Du Kefeng and Li Pingbin's photography, every part is just right. , I enjoyed it very much, I had to give it half a star.

Audio-visual language:

Visual motif: box frame + deep depth of field.

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The characters are forced into the depth of the scene by the building, occupying only a small part of the picture, combined with a large number of frame and frame structures, giving the audience a very deep sense of oppression. Whether the protagonist or the supporting role, basically every character is framed by the second layer of the picture frame, and the scope of activities is greatly limited. This method not only has aesthetic value, but also has considerable thematic ideographic ability. On the one hand, we can understand it as the repression of marriage on the individual, on the other hand, it can also be classified as part of a deeper meaning. In addition, the deep depth of field not only expresses the "repression of architecture on individuals", but as one of the most important symbols of modern society, "architecture" itself also participates in the thematic expression of the film as a symbol.

The structure of the "box and box", combined with the ever-present time symbols (clocks), in fact constitute two major elements in the modern disciplinary system: the ubiquitous "rules" and "timetables" that shape the power of society Forms and patterns of human behavior and thinking, or to put it in simpler terms: they define the so-called "standard answers" for marriage and love. I personally think that the deepest invasion of human nature by "disciplinary" power is here. From the army to the hospital to the school, the alienation of disciplinary power to people is along this line, from shaping "behavior" to "body" to "thinking". way" way. As perhaps the most difficult part of being human to quantify and compare, I would personally think that emotion is the impossible end point of this "alienation" (though the goofy activities of group counseling psychology make me a little skeptical of that). In fact, the film does not directly express the alienation of "love" itself, but indirectly expresses this theme through the distortion of love by "marriage". Although I don't fully agree with this notion, the director's approach is quite good.

Peeping point of view:

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The King of Sunglasses does this very well, that is, his audio-visual language has never been purely dazzling. "Voyeur perspective", to be precise, it should be: the candid perspective under the panning lens. In fact, it forms a complete audio-visual system with the aforementioned "frame and frame" and "deep depth of field", all of which serve and serve the core theme of "the oppression brought by modern society (city)". . Even in terms of reality, cramped housing space and dense renters inevitably make "voyeurism" an unavoidable way of life in big cities. As a city resident, even if you don't take the initiative to peep into other people's lives, the dense and cramped living space will force you to touch other people's lives. To a certain extent, the voyeuristic perspective that the audience enters is actually the perspective of the protagonist's "neighbors".

From face to face to back to back:

Appeared at the opening, the two did not know each other at this time
Be in two rooms, use editing to create the effect of looking at each other
In the same two rooms, the two are ready to separate
Abandon clips to use long takes

Foreground occlusion:

It has been explained before and will not be repeated here.

Empty shot:

Strictly speaking, many scenes in this film should not belong to empty scenes in the traditional sense, because the wife of Zhou Muyun (Liang Chaowei) and the husband of Su Lizhen (Maggie Cheung) were deliberately left blank in this film. So when expressing them, the King of Sunglasses chose to use a lot of empty shots, or the shooting method of empty shots with sound. The same empty shot, the same camera angle and the same set, just by changing the way the characters are formed, the form is interesting in itself. (Su Lizhen's husband is actually Zhang Yaoyang...I didn't even hear it)

Similar to this. Also the set and lens are great


I don't know if it's a spoiler or not. In short, there is no sex scene in this film. The most intimate actions of the two were just hugging and holding hands. However, under the constraints of very little physical contact, the director still expressed the ambiguous emotions in various ways. Among the four, some people think that the most outstanding are several "eating scenes", from Zhou Muyun's "seriously" eating wontons, to the action of two people stirring coffee when they drink coffee, and the way of camera movement closely related to emotions (such as sudden left and right sideways) Move), and then to the state of two people cutting steaks when eating steaks, in fact, this way of expression is very dependent on the acting skills of the characters. Fortunately, the director used Tony Leung and Maggie Cheung. But on the other hand, this kind of film also relies on the actors' acting skills, so Tony Leung was able to win the Cannes Best Actor with this film.

It's nothing to express ambiguity and eroticism with sex scenes. The real high-level expression is to show all this with things that are completely irrelevant. "What Quentin made with one cherry topped a hundred raw films." (What I said) Similar to "In the Mood for Love", the shooting method of "diet men and women" has only been seen in domestic films in recent years. One is Cheng Er's "The Dying History of Romanticism". The dinner scene in that part is also very good. If you like it, you can try it.

The other side of ambiguity, from a certain point of view, is actually a deep digging and development of the "modern view of love" mentioned in "Rouge Buckle". If "Rouge Buckle" witnessed the "death of classical love", then "In the Mood for Love" actually witnessed the "death of modern love", or more strictly speaking: witnessed the modern marriage system under the erosion of disciplinary power The death of the wrapped love.

Zhou Muyun and Su Lizhen in the film almost perfectly complied with all the requirements of the modern marriage system, so the "love" between them can only exist in the cracks and eventually die out. The bright future that marriage promised them did not materialize, although they still followed the system. The love between the two of them was careful, absolutely sensible, and boundless, even though those who had promised to live forever had deserted them later. In this environment, emotions, like people, are repressed, calculated, and shaped.

People are tools manipulated by schedules, buildings, and work, and emotions are also alienated into products that can be manipulated by humans. Zhou Muyun's most important secret can only be told to Shudong, the intimacy promised by marriage is nothing to him. In fact, it's not just him, every supporting role in the film is the same. They try to "rehearse" to dissolve the pain caused by the failure of marriage and love, which is absurd and absurd in itself.

In "Rouge Button", the impulse, selfishness and infatuation brought by "classical love" eventually died because they could not adapt to the various rules of modern society, but it was at least an "intimate relationship" that could provide both parties with real emotional and psychological support. In the modern marriage constructed by "In the Mood for Love", "intimacy" has been more replaced by some kind of "marriage of interests", and love is more excluded as an uncontrollable variable. Although I don't quite agree with this concept, I have to admit that this institutional reflection on "marriage" has indeed raised the ideological level of this film.

In the most common language (of course not accurate), "In the Mood for Love" is a movie made of the phrase "marriage is the grave of love".

Relatively speaking, I still prefer Woody Allen's concept of love.


If you are not professional, you will not be ugly, anyway, the thief is nice. If I have to add something, the theme song "Yumeji's Them" appears 9 times (or maybe 8 times) in the film, and each time it is accompanied by slow motion, showing Maggie Cheung's graceful posture when wearing a cheongsam. A variety of exquisitely designed sets and photography, I dare not say what the theme means, but they can definitely give people a considerable aesthetic pleasure.

Easter eggs:

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Extended Reading
  • Freida 2022-04-24 07:01:05

    Wong Kar-wai's films have a cool and dazzling sense of form, but they're actually full of emotions. A theme that has always been carried out in this film is: the desire for some kind of talk and communication between people and the helplessness of the impossibility of individual communication which is far stronger than this desire.

  • Bert 2022-03-28 09:01:02

    8.8; Wong Kar Wai's highest work

In the Mood for Love quotes

  • Chow Mo-wan: I have a chapter to finish.

    Su Li-zhen Chan: Where have you got to?

    Chow Mo-wan: The drunken master just showed up.

    Su Li-zhen Chan: When did he get written in?

    Chow Mo-wan: Just now!

  • Receptionist at 'Singapore Daily': [picks up phone] Hello, Singapore Daily.

    [into phone]

    Receptionist at 'Singapore Daily': Hold on.

    [turns to room]

    Receptionist at 'Singapore Daily': Mr. Chow, call for you.

    Chow Mo-wan: [hurriedly arrives to pick up phone] Thanks!

    [into phone]

    Chow Mo-wan: Hello?

    Chow Mo-wan: [into phone] Hello?

    [cuts to Mrs. Chan holding phone, she remains silent]