The plantains don't show their lilac knots, and they each worry about the spring breeze.

Shaniya 2022-04-20 09:01:37

The background of Li Zejie

's "In the Mood for Love" is Hong Kong in 1962, but the film can basically be called a film that continues the spirit of old Shanghai. Brightly lacquered furniture, earthy records, old-fashioned gramophones with golden morning glory trumpets, creaking stairs, cramped aisles, dark and dark streets, luxurious restaurants, noble The appearance of decent characters, the coexistence of warm hospitality and hypocritical interpersonal relationships, as well as the sophistication of the old Shanghai people, the gorgeous appearance and the dark inner heart, project a half-bright, half-depressed "In the Mood for Love".


Red and blue are the primary colors in the film. The blue color is mostly outdoors, producing a feeling of indifference, silence, depression, and closure; the red color is mostly found in bars, restaurants, hotels, and kitchens, creating a feeling of restlessness. Intense, gorgeous, complex colors, composition, and the two protagonists whose expressions are forever blurred in the film, and the ever-gloomy weather interweave a splendid and gloomy situation. In addition to the strong and eye-catching visual style, "Flowers" also has a variety of rich sounds: old Cantonese opera, local drama, dance hall songs, jazz, tango...


"In the Mood for Love" is a memory of the floating world played in the past and old dreams. The love song, the vague and beautiful essence hides the sadness that is still to be said. Nostalgic images, nostalgic music, nostalgic pictures, "In the Mood for Love" is nothing less than a gluttonous nostalgic feast. The old tones lingered and lingered like the faint yellow smoke on the cigarette lamp. Those evanescent, ambiguous and sentimental pasts are highlighted in relief in the faintly permeating smoke.


Although "In the Mood for Love" lacks the characteristics of time and space, lacks the reconstruction of character concepts, lacks profound literary and artistic dialogues, and lacks multi-perspective and multi-angle voice-over monologues Filled with soft warmth and nostalgia. The mystery and ambiguity, subtlety and restraint of the oriental people spread quietly in every flickering and wandering glance and every veiled politeness, the distance in intimacy, the joy in tranquility, the calm in joy. sad. The style of the 1960s shows its charm from the fragments of the two people's "feeling, but only ritual", and their restrained brushstrokes are like blank spaces in Chinese painting.


A married man and a married woman, they became neighbors on the same day, they passed by countless times in the dim corridor, their eyes occasionally touched, and their attitudes were unfamiliar and restrained. The two started by inquiring about their other half's extramarital affairs, parody flirting, parody questioning, parody question and answer, when Zhou Muyun (Leung Chiu Wai) and Su Lizhen (Maggie Cheung) finally knew "how they started", "a lot of things don't know. It came unexpectedly."


They avoided the eyes and suspicions of their neighbors, carefully visited, approached, and found reasons to come and go secretly. The soul wanders between morality and emotion, reason and impulse, arms and breath. They must think that between them there is a "seen, intangible" frosted glass that cannot be crossed or broken.


In the painful and tangled struggle, Zhou Muyun decided to rewrite the long-abandoned martial arts novel. Their growing acquaintance can only be vented through the creation of martial arts novels, and their true feelings can only be comforted from the idealized world of self-willedness and greed and hatred. The characters in "Flower" are not as capricious as the characters in Wong Kar-wai's previous films. They love very well. They trapped themselves in the phrase "We will not be the same as them", repressed and forbeared. Help and heartache.


The relationship between Zhou and Su has always been ambiguous, like the endless tango in the film. Tango is an elegant game that must be played by two people. Careful temptation and mutual advance and retreat are inevitable processes. And that intriguing "Quizas
Quizas Quizas". "Quizas Quizas
Quizas" means "maybe, maybe, maybe". Maybe break through that piece of glass to come together, maybe linger in the dark and reflect each other, maybe just take a moment to think, and finally forget each other in the rivers and lakes.


In the attitude of the two sides retreating, among various possibilities, they can only choose one, and this possibility still cannot escape their own rut. Everyone can't escape their own attributes. The love that was activated but failed to survive in the Mood for Love is related to their character and the age at that time.


Su Lizhen's cheongsam is the most eye-catching scenery in this movie. Zhang Ailing said: Clothes are a kind of language, a kind of pocket drama that you carry with you. From the beginning to the end, more than 20 sets of colorful cheongsams are densely wrapped, which is Su Lizhen's secret and affectionate. Avoidance and pursuit, enthusiasm and indifference, the color of inner passion is framed in the restrained form of cheongsam. 2046 is a short-lived greenhouse and flower house, and Su Lizhen is like Du Liniang in "The Peony Pavilion". Although it is joy to meet, and parting can also be ecstasy, but in the end it is cold. Forcibly suppressed desolation, forcibly endured love. She walked from one end of the corridor to the other again and again, behind a large group of scarlet curtains blown by the wind. The loneliness and melancholy of a married woman, a kind of lust under the bondage of morality. No matter how the cheongsam changes colors and floral decorations, the imprisoned soul is never freed.


Zhou looked at the phone and asked, "If there is one more ferry ticket...would you go with me?"; Su sobbed silently in the empty room, "If there was one more ferry ticket...would you go with me?" Take me with you?" Such warm lines are like a fantasy in the desolation, like love. The feelings of the 1960s, people who came out of the emotional world repressed in the 1960s, may be able to better understand the main theme of their emotions and the many emotions derived from the variations.


"The Years in the Mood, the Spirit of the Moon", what is eternal is only the scratches on the old records, just like the song "The Years in the Mood" sung by Zhou Xuan's still crisp voice. Their youth and secrets are sealed in a bullet hole in Angkor Wat. The secret sealed by the soil, is it certain that grass will grow? After the secret grass grows, will it be forgotten?


The mournful and soothing tune is pulled back and forth by the cello, time goes by little by little, and the years slip away little by little. The fragrance of flowers is like the wind, and there is no trace of the wind; That era is over, and everything that belongs to that era no longer exists. Baudelaire wrote in his poem: Maybe you and I will go missing, but you should know that I was moved by you.

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Extended Reading

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]

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