Have a meal

Gregorio 2022-03-21 09:01:42

Wong Kar Wai's World Entrance: https://virtual.filmlinc.org/page/world-of-wong-kar-wai/

The 4K restoration version was refreshed in October and yesterday. The viewing experience of the two new versions is different from before, not only the changes caused by the color difference, but also the emotions triggered by my current state of mind and the materials I found in the film. relation.

Like eating, the scenes that are particularly common in the film play a crucial role.

Note: The time of the movie in this article is based on the CC Blu-ray version released before, which is slightly different from the time of the repaired version. The screenshot is also a screenshot of the CC Blu-ray version suppressed resource, which is quite different from the 4K repair version.


1. Make noodles

This scene appears in 8 minutes of the film. Mrs. Sun, played by Pan Dihua, asked Mrs. Su why they didn't eat hoof soup together.

This is the fourth conversation between Mrs. Sun and Mrs. Su in the film. Mrs. Su has lived in for a while, and she is so polite with Mrs. Sun, like an outsider. Thinking of the mahjong card scene in the famous episode of the film about 5 minutes ago, Mr. Zhou and Mrs. Su both kept their distance from other elderly people in the guest room. They are both from Shanghai, and at the end of the first meeting in the film, it is revealed that one speaks Cantonese mixed with Shanghainese, and the other is pure Cantonese, just like the distance between them, looking at each other and unable to get close to each other.

Whether it is noodles or hoof soup, the distance from eating here has deepened the unique sense of distance in the film. This kind of distance pervades the entire work, including the narrative technique and method of the film, which creates a distance from the audience, including those watching in the theater, who are separated from the screen. This distance is not just space, it is stronger than space. ( That famous ferry ticket is not a ferry ticket, but at this moment, I and you cannot be together )

Summary of the premise: Mr. Zhou quarreled with his wife, his wife left work early, and Mr. Zhou arrived at the unit late, listening to his wife and colleagues saying that you should not wait stupidly.

The famous face-to-face encounter, including the second face-to-face rain, I don't think there's much to say. Why does Mrs. Su choose to eat noodles alone and is unwilling to eat with them? I think there is still the influence of foreigners who are temporarily unable to follow the customs of the countryside, and their living habits cannot be changed for the time being. It takes time to adapt and accept. Punching noodles is an action, but also a habit, and it can even be said to be an entrance.

If we say that the previous mahjong game, as well as rice cookers, newspapers, and martial arts novels are all materials that are close to each other, or that it is a step to imitate others (actual) into private (ideal), then the design of playing noodles can It is correct to say that it is right to use the approach of meeting each other at a very close distance in space to enter an accelerated stage of development.

Here is a detail. Mrs. Su, who beat the noodles, used a thermos cup to hold meals, and Mr. Zhou, who ate the noodles, used a newspaper tucked under his arm. If, mahjong implies male social activities, rice cooker implies female social activities. Well, when the newspaper appeared, it was Mrs. Su who read it and talked with Mr. Zhou; when the martial arts novel appeared, it was presented by Mrs. Su, who talked with the absent Mr. Zhou; when the rice cooker appeared, it was Mr. Zhou who asked and talked with the absent Mrs. Su. , When the magazine publication appeared, it was Mr. Zhou who came over to talk to Mr. and Mrs. Zhou who was not there. Everyone can taste the taste carefully.


2. Restaurant

Watch out for the smoke here.

Music: Aqueellos Ojos Verdes

At the beginning of this part, I marked that there was smoke there, and the picture below I cut out the cigarette, and the lighter still lit several times before it ignited.

Men smoke to relax. This is easy to understand. But when this cigarette appears in the front, why is it smoking in the back? Is this conversation the beginning of their appointment to have dinner at the restaurant or has been chatting for a long time, at least one cigarette has been smoked, what is the meaning of the nervousness of the lighter? I really don't understand Zhang Shuping's arrangement of materials. However, this arrangement makes the material deteriorate and makes the material more interpretable.

The above explanation is the same as this conversation. Mr. Zhou asked Mrs. Su how to buy the bag, and Mrs. Su asked Mr. Zhou how to buy the tie. The deterioration of the objects on the body has turned into a trait of liking each other. I think that Mr. Chen and Mrs. Zhou have always been faceless in the film. The other person found that they could rely on each other's characteristics, cognition triggers familiar feeling, feeling triggers each other's actions, and the action enhances the stimulation of the trait to the feeling. After a series of strengthening, they complete each other's love.

Music: Aqueellos Ojos Verdes

Second time at the restaurant. The beginning is slightly different from the first time above, but there is no difference.

This reminds me of Hong Changxiu's "Right Now, Wrong Then". The same scene becomes two arrangements. The exchange remains the same, just from bags and ties to eating the dishes that each other's partner often eats. The panning close-up meal of the seasoning, the action of their meal and the action of eating, use the action to complete an emotional staged display.

Lines: What do you want to say?

Lines: Why are you calling my company?

In the first picture above, the lines appear before the pan and pull the camera; in the second picture above, the lines appear after the pan, and Mrs. Su completes a mouth-wiping action. They are all equipped with very tentative lines, and this kind of pause is hard to come by.


3. Eat

Premise summary: The relationship is deadlocked.

Pay attention to the movements of the two to eat, especially the movements of the chopsticks to sandwich the rice and vegetables.

Pay attention to the movements of the two of them eating, especially the movements of the chopsticks to sandwich the rice and vegetables, and the state of the two of them in two scenes.


4. Rice cooker

This picture is from the 62-minute segment of the film. Mrs. Su started cooking with a rice cooker instead of making noodles.

This picture is from the 74-minute segment of the film, the song "Love in the Mood", with a pan and swing camera to draw the gap and distance between the two.

In fact, I didn't take pictures of other rice cookers before. Every time the kitchen section appears, someone deliberately blocks the rice cooker, or the rice cooker is always in a strange position on the screen. Also, the affair itself is in a strange position in their life trajectory, either being blocked or being placed, or else being awkward with each other. Recalling the scenes of the two of them in the film, the appearance of the characters and the trajectory of the camera swing are very, very strange. It seems that they want to create a happy dream, and they seem to want to break through the dreamy fantasy.


end

Wong Kar-wai's beauty, I don't think it comes from the aesthetics of the camera lens, is the extraction of ordinary materials from life that can radiate emotions. He uses his own special processing method to inject magic power, and borrows our viewers' own life experience and cognitive means. Use the material nodes that trigger the emotional switch in the audience's brain to open the state of blending with the movie.

He has been capturing the pain in the meaning of life. Only when he feels the pain is the result of his true devotion. Pain may be one of the end results of a relationship, and love has always been so elusive and elusive in the king's world. Maybe the real end of the story can only be reached when pain develops?

(too lazy to check for typos, I'm really lazy)

View more about In the Mood for Love reviews

Extended Reading
  • Martina 2022-03-27 09:01:05

    Japanese flower cloth, one piece is a picture. The kimono is very complicated, and the loose patterns on the fabric are often buried, but the Chinese cheongsam with simple lines is made, which gives a clear impression. The leaves of the palm tree are half-covering the small Burmese temple, and the rain is pouring, it is a reddish-brown tropical. In the pond in early summer, a layer of green film is formed on the water, with duckweed and purple and white lilacs with broken stems, as if it should be filled in the small order of "Mourning Jiangnan". There is another piece, on a white background, a large purple flower of Yin Qi, dripping with water. There is a dark olive-green silk with a large black shadow passing over it, full of wind and thunder. There is also a kind of silk material, pale lake color, with wood grain and water pattern, every other section, two plum blossoms the size of tea bowls float on the water, silver hooks and iron scratches, like the colorful glass windows of medieval churches, red glass Embedded with heavy iron edging - for the non-speaking, the clothes are a carry-on drama

  • Amparo 2021-11-15 08:01:27

    They are in the mood for love, but not in the time and place for it. The script is very interesting. It sets up a pair of men and women who have no scenes in the movie, but reminds Zhou Muyun and Su Lizhen not to have sex all the time. , So the dull men and women in Wong Kar-wai's lens, the empty room is full of a kind of unavailable lust, the extremely omitted narrative, the soothing and elegant cello soundtrack is too good

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.