For Wong Kar-wai, it is really hard not to pretend, and he will die!

Joannie 2022-04-22 07:01:11

"In the Mood for Love" has long been at the top of the Chinese film list in various European film critics' rankings. Its status is unshakable, but it is really overrated. I just watched the 4k repaired version, and the look and feel is the same as 20 years ago, and I feel that the form is greater than the content. Deliberately so that people can see through it at a glance, it can only be called a name. The young Maggie Cheung is a slender and beautiful woman. Wong Kar Wai teamed up with Zhang Shuping to tailor all kinds of gorgeous and modern cheongsam for her with almost fetish persistence. The movie is almost a large-scale cheongsam show. A deliberate pursuit of nostalgia, which has nothing to do with the film itself, accidentally brought the cheongsam back to the public eye. Since then, the various squares in the land of China have been filled with all kinds of bells and whistles and shoddy cheongsam shows by the aunts of Yanshouhuan and fat. Blame Wang Jiawei and Zhang Shuping, and of course Maggie Cheung. The stage beauty is also fully coordinated, with strong colors, nostalgic and set off Maggie Cheung's cheongsam and coat. The rhythm of the camera is also in the style of the films of the 1950s and 1960s. It is not bad, but it still feels deliberately coming. The story is simple but also deliberately contrived. The emotional presentation is intermittent, and it feels bumpy but difficult to bring in. The peak of the pretentiousness is of course at the end of the film. Tony Leung's melancholy eyes at Angkor Wat and his murmuring to a small hole, together with the overlook of a little monk and the continuous display of the aphrodisiac soundtrack to the ruins of Angkor Wat, are full of exotic flavors. , Chinese and foreign petty-bourgeois film critics must be the climax, but I am only embarrassed. Of course, the windfall is that Angkor Wat has since become a pilgrimage site for Chinese youth, and the Cambodian people should thank Wong Kar Wai and Tony Leung. Wong Kar Wai has always been known for his unscripted reliance on on-site search and post-editing, and the time and cost can be infinitely overrun. I thought he was really particular about the details, like he was obsessed with the cheongsam, but one minute before the film, Tony Leung had his face covered with water and his hair was soaked and scattered. As soon as the camera turned, he was refreshed, oily and powdery, as if he had just When he comes out of the hair salon, he usually faces Maggie Cheung affectionately. Wong Kar-wai doesn't seem to care about this kind of wearing. It is nostalgic, obsessed with the details of the props, and gorgeous. Hou Hsiao-hsien's intentions in "Flowers on the Sea" are natural, and Wong Kar-wai reminds you all the time: Look at how much I pay attention to, how clever and beautiful, the result is that I can immerse myself in In "Flowers on the Sea", I forget those deliberate but always dancing drama "In the Mood for Love", I worry that Tony Leung's suit is always rained on, and he is not rich, how can he afford it? Thinking that Maggie Cheung only rented such a small room, how could she fit so many cheongsams? These cheongsams look expensive, how can she afford them? Hou Hsiao-hsien and Wong Kar-wai are roughly the difference between a master and a craftsman.

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Extended Reading
  • 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.

  • Sister 2022-04-24 07:01:05

    Wong Kar-wai seldom describes how a person falls in love with a person, because this is an unconscious thing.

In the Mood for Love quotes

  • Chow Mo-wan: It's me. If there's an extra ticket... would you go with me?

    Su Li-zhen Chan: It's me. If there's an extra ticket... would you go with me?

  • Su Li-zhen Chan: Am I hopeless?

    Chow Mo-wan: Not really.