"In the Mood for Love" has been released for 20 years.

Icie 2022-04-20 09:01:37

one

In May, the Cannes Film Festival was supposed to be held.

Under the epidemic, there is no future.

Back in time, twenty years ago.

On May 20, 2000, "In the Mood for Love" premiered at Cannes.

two

In the same Cannes competition, there are two Chinese-language films, Jiang Wen's "The Devil Is Coming" and Yang Dechang's "One One".

That spring, Zhang Yimou took "My Father and Mother" to compete for the Golden Bear in Berlin.

In autumn, Jia Zhangke and Chen Guo appeared in the water city of Venice with their new film.

That was the best era of Chinese films.

three

In my opinion, "In the Mood for Love" is Wong Kar-wai's best work.

The second best is "Sweet Spring".

"Happy Together" may not be the best gay romance movie, but it may be the best "return" movie, better than "Made in Hong Kong."

"In the Mood for Love" may not be the best escapade romance, but it may be the best "nostalgic" movie, better than Tarkovsky's "Nostalgia," I can't say.

Four

Nostalgia is an advertisement posted on a street wall.

Nostalgia is the waist under Su Lizhen's cheongsam.

Nostalgia is the wrinkle in Zhou Muyun's suit.

Nostalgia is wonton noodles.

Nostalgia is rain.

Nostalgia is smoke.

Fives

Hong Kong films are rushing to work, and Wong Kar-wai is procrastinating.

Hong Kong films are rough, and Wong Kar-wai is exquisite.

six

The title of "In the Mood for Love" is taken from the song "In the Mood for Love" by Zhou Xuan.

This is an episode of the 1947 Hong Kong movie "Sauvignon Blanc".

There are lyrics like this:

what

lovely motherland

When will I be able to get close to your embrace

In the year following the founding of New China, Zhou Xuan left Hong Kong and returned to Shanghai.

Soon, she suffered from mental illness and was sent to a nursing home.

In 1957, Zhou Xuan died in Shanghai.

A year later, Wang Family Health was in Shanghai.

seven

"In the Mood for Love" has the original novel, namely "Facing Down" by Liu Yichang.

After Wong Kar-wai got the novel, he changed a lot, but the artistic conception remained the same.

Yes, two people.

Yes, both genders.

Yes, two eras.

Opposite to space.

Against time.

Eight

Wong Kar-wai is from Zhejiang, born in Shanghai and filming in Hong Kong.

Liu Yichang is also a native of Zhejiang, born in Shanghai, and writes novels in Hong Kong.

There are many people from Zhejiang in Hong Kong.

Jin Yong, a native of Zhejiang, runs a newspaper and writes novels in Hong Kong.

Run Run Shaw is from Zhejiang, and he invested in movies and TV stations in Hong Kong.

Tung Chee-hwa is also from Zhejiang.

Nine

In the novel "Facing Down", Liu Yichang wrote it in sections.

One chapter is about the male protagonist Chunyu Bai, and the other is about the female protagonist Ya Xing.

Same time, different space.

Double line opposition.

Wong Kar-wai completes the confrontation in film language.

At the beginning of the film, Su Lizhen and Zhou Muyun, who lived next door, moved at the same time.

Lens contrast, like twins.

When the space is switched, workers sometimes move the furniture by mistake.

ten

Yes it is staggered.

Passed by, is staggered.

No one answered the phone, it was staggered.

Staggered are slippers.

Interlaced are cigarette butts.

Staggered is the ticket.

Interlaced is Su Lizhen in tears.

Interlaced is Zhou Muyun smiling.

Staggered, is unable to catch up.

Staggered, can not be avoided.

eleven

It's a coincidence.

Mrs. Zhou has the same leather bag as Su Lizhen.

Mr. Chen has the same tie as Zhou Muyun.

Behind the coincidence is deception.

Zhou Muyun wanted to drink sesame paste.

Su Lizhen made sesame paste.

Behind the coincidence is a thought.

twelve

Yes it is indirect.

Zhou Muyun lives next door to Su Lizhen.

The relationship between the two is separated by the relationship of each other's spouse.

Mrs. Zhou and Mr. Chen cheated, and Zhou Muyun and Su Lizhen had more contacts.

The two play their respective spouses and simulate various scenarios.

At first, it was a catharsis of emotions.

Later, it was emotional disguise.

Indirectly create an interval.

True and false interval.

Morality and Desire.

past and present interval.

Thirteen

Wong Kar-wai's narrative is indirect.

Su Lizhen saw that her boss, Mr. He, had changed into a new tie, and knew that Mr. He had cheated.

Later, I saw that my husband, Mr. Chen, had changed into a new tie.

Film language is inherently indirect.

depict loneliness.

On a rainy day, Su Lizhen went out to buy noodles.

Depicts become lonely.

At the beginning of the film, Su Lizhen played mahjong with everyone and sat next to her husband, talking and laughing.

In the latter part of the film, Su Lizhen watched everyone play mahjong and became an outsider.

Describe the relationship between Su Lizhen and Zhou Muyun.

At first, I cut to Zhou Muyun and gave Zhou Muyun's back shot, and then cut to Su Lizhen and also gave the back shot.

Later, when I cut to Zhou Muyun, I gave the back, and when I cut to Su Lizhen, I gave the front.

Knowing each other can be relative.

fourteen

Composition speaks.

Su Lizhen went to Zhou Muyun's house to chat, just as the landlord suddenly came home.

In the eyes of everyone, Su Lizhen did not dare to go out, for fear of causing gossip.

Wang Jiawei used a low camera position to shoot the nervous Su Lizhen and Zhou Muyun.

The camera is hidden under the table, as if someone is watching secretly.

No one else can see it, everyone else seems to see it.

Su Lizhen and Zhou Muyun sheltered from the rain and stood by the window.

The window bars are like prisons.

The two were imprisoned within the moral exclusion zone.

Zhou Muyun confided secrets to the hole in the wall at Angkor Wat.

There are monks sitting on a high place looking down.

Only you know the secret.

The secret is God knows.

fifteen

Details speak for themselves.

Su Lizhen's son is called "Yongsheng".

Yong is the Yong of Jin Yong, and Sheng is the life of Liang Yusheng.

Su Lizhen and Zhou Muyun have written martial arts novels together.

sixteen

Numbers speak.

The film ends in 1966.

Ten years of catastrophe began this year.

Hong Kong was affected, and the "June 7 Leftist Trade Union Riot" occurred the following year, and the participants fought against the British colonial government in Hong Kong.

That was a watershed in Hong Kong's development.

In the film there is a news clip of Cambodians welcoming General de Gaulle.

There were 200,000 people on both sides of the road.

This scene marked the real end of the French colonial era in Cambodia.

More than a decade later, the Khmer Rouge seized power in Cambodia, during which as many as two million people died or were executed due to starvation, overwork, torture.

seventeen

Acting is talking.

Tony Leung's eyes can speak.

Maggie Cheung's brows can speak.

Tony Leung's hair oil will speak.

Maggie Cheung's earrings can speak.

Hands speak.

To break free means powerless.

Hold tight, it's helpless to say.

Some performances only rely on speech.

Zhang Yaoyang plays Mr. Chen in the film.

I don't see him, just hear his voice.

eighteen

At Cannes that year, Tony Leung won the Best Actor award.

Maggie Cheung won the Academy Award and the Golden Horse Award, but lost to Bjork at Cannes.

Bjork is an Icelandic singer who has influenced Faye Wong.

Today's Maggie Cheung has also become a singer after retiring from filming.

When she can't sing well, she will cry.

nineteen

Wong Kar-wai started to delay again.

A few years ago, he announced that he would make "Flowers".

Jin Yucheng's Shanghai-language novel.

When he and Jin Yucheng were walking in the alleys in Shanghai, he wondered whether they would talk about Liu Yichang, "Fighting", "Drinkers", and "In the Mood for Love".

He is still nostalgic.

Nostalgia is nostalgia.

Lu You said that his heart is in the Tianshan Mountains, and his body is old in Cangzhou.

Like Wong Kar Wai, his heart is in Shanghai, but he is old in Hong Kong.

This is also the opposite of space.

After "Breakthrough", Wong Kar-wai's Chinese films are all period dramas.

He lives in the present, but is more keen to show the past.

This is also the opposite of time.

twenty

The novel "Facing Upside Down" has two editions, the long story and the short story.

The long story has sixty-four sections, and the short story has forty-two.

The narrative is incoherent.

Time is incoherent, space is incoherent.

Dong Shi imitates the frown, and the right to pay tribute, I wrote twenty-one sections.

Not a movie review, just an opinion.

twenty one

In addition to "Falling Down", Wong Kar-wai also filmed Liu Yichang's "Drinkers".

Even more.

However, there are lines from the original book:

All memories are damp.

This sentence may not be right.

Some memories are never found again.

View more about In the Mood for Love reviews

Extended Reading
  • Giles 2021-11-15 08:01:27

    Forbearance of middle-aged passion. "At first, I just wanted to know how they started, but then I discovered that everything happened unknowingly."

  • Maia 2022-03-27 09:01:05

    You don't have to be married to understand this movie. In fact, it is unexpectedly similar to the puppy love of middle school students: hesitant to talk, zero physical contact, afraid of being seen, can't listen to any gossip, there are words in the words, songs on the radio, lettering at Angkor Wat. Extramarital affairs and puppy love in the old days were both ambiguous and unspeakable under a powerful external force and authority. Extramarital affairs are even more tragic because neither of them has the ability to love.

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]