Basho does not show lilac knots, and each is worried about the same spring breeze.

Jeromy 2021-11-15 08:01:27




The background of "In the Mood for Love" is Hong Kong in 1962, but the film is basically a film that continues the spirit of old Shanghai. Brightly painted furniture, earthy records, old-fashioned phonographs with golden morning glory horns, squeaky stairs, cramped aisles, dark and dark streets, luxurious restaurants, noble The appearance of decent characters, the interpersonal relationship coexisting with enthusiasm and politeness and hypocrisy, the shrewd and sophisticated of the old Shanghainese, the appearance is gorgeous and the heart is dark, projecting a half-bright, half-dull and depressed "In the Mood for Love".
Red and blue are the base colors in the film. Most of the blue series are outdoors, producing feelings of indifference, silence, depression, and closure; the red series are mostly found in bars, restaurants, hotels, and kitchens, creating a feeling of restlessness. The strong, gorgeous, complex colors, the composition and the two protagonists whose expressions are always blurred in the film, and the always gloomy weather interweave a brilliant and gloomy situation. In addition to the strong and eye-catching visual style, "Flower" also has a variety of rich sounds: old Cantonese opera, local drama, ballroom songs, jazz, tango...
"In the Mood for Love" is a memory of the floating world played in the old dreams. The vague and beautiful essence of the love song hides the sadness of wanting to talk. With nostalgic images, nostalgic music, and nostalgic pictures, "In the Mood for Love" is nothing but a gluttonous feast of nostalgia. The old hue lingers like the light yellow hazy smoke on the smoke lamp. Those passing, ambiguous, and sentimental pasts are embossed in the faint smoke.
The "In the Mood for Love", which lacks time and space patchwork, lack of character concept reconstruction, lack of profound literary dialogue, and lack of multi-angle and multi-angle voice-over monologues, "In the Mood for Love", although it presents a slightly poor beauty, but this beauty is not. Filled with soft tenderness and nostalgia. The mystery and ambiguity, subtlety and restraint of the Orientals spread quietly in every flashing and erratic stare and every sentence of concealed and concealed polite, the distance in intimacy, the joy in calm, and the calmness in joy. sad. The style of the 1960s reveals its charm from the two "in estrus, only to be courteous" fragments, and their introverted brushstrokes are like the blank spaces in traditional Chinese paintings.
A married man and a married woman, they became neighbors on the same day. They passed by in the dim corridor countless times, their eyes touched occasionally, and their attitude was unfamiliar and cautious. The two started by inquiring about their spouse’s extramarital affairs, parody flirting, parody questioning, parody question and answer, when Zhou Muyun (Liang Chaowei) and Su Lizhen (Zhang Manyu) finally knew "how they started", "A lot of things are unknown. I came before I knew it."
They avoided the gaze and suspicion of the neighbors, and carefully visited and approached, looking for reasons to secretly come and go. The soul wanders between morality and emotion, reason and impulse, arms and breath. They must think that there is a piece of "visible and intangible" frosted glass between them, which cannot be crossed or broken.
In the painful and entangled struggle, Zhou Muyun decided to rewrite the martial arts novel that he had given up for a long time. Their deepened feelings can only be vented through the creation of martial arts novels, and the sprouting true feelings can only seek comfort from the idealized world of self-willedness and gratitude. The characters in "Flower" are not self-willed like those in Wong Kar-wai's previous films. They love to a great extent. They trap themselves in a sentence "We won't be like them", repressing, holding back, nothing. 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 only two people can play. Careful temptation and mutual advance and retreat are inevitable processes. And the intriguing "Quizas Quizas Quizas". "Quizas Quizas Quizas" means "maybe, maybe, maybe". Maybe they broke through that piece of glass and came together, maybe they lingered in the dark and reflected each other.
In the attitude of both sides retreating, among the various possibilities, they can only choose one, and this one possibility still can't escape their own arrogance. Everyone can't escape their attributes. The love that was activated but failed to survive in the Mood for Love is related to their character and the 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 cheongsam densely packed with beautiful flowers are the secrets and affection of Su Lizhen. Evasion and chasing, enthusiasm and indifference, the color of inner passion is framed in the formal form of cheongsam. 2046 is a short-term greenhouse and flower house, and Su Lizhen is like Du Liniang in "The Peony Pavilion". Suddenly, she is shocked to see the colorful flowers in the garden, but it is just a dream in the garden. Although it is joy to meet, and parting can also be ecstasy, but in the end it is indifferent. Suppress the desolation, and endure love. She walked from one end of the corridor to the other again and again, behind which was a large group of scarlet curtains that were surging in the wind. The loneliness and melancholy of a married woman, a kind of lust under the restraint of morality is still resting. No matter how the cheongsam changes its colors and floral decorations, the imprisoned soul is still not free.
Zhou looked at the phone and asked, "If there are more tickets...Will you go with me?"; Su cried silently in the empty room, "If there are more tickets...Will you Take me along?" Such warm lines are like a fantasy in the desolation, like love. The feelings of the 1960s, and those who came out of the repressed emotional world of the 1960s, may be better able to appreciate the many emotions derived from the main tone and variation of their emotions.
"In the Mood for Love, the Spirit of the Moon", what is eternal is just the scratches on the old records, just like the song "In the Mood for Love" sung by Zhou Xuan's still crisp voice. Their youth and secrets were sealed in a bullet hole in Angkor Wat. Is the secret sealed by the soil bound to grow grass? Will the secret be forgotten after the grass grows?
The sad and soothing tune was pulled back and forth by the cello, time passed and the years slipped away. The fragrance of flowers is like the wind, and there is no trace of the wind; That era has passed, and everything that belongs to that era no longer exists. Baudelaire wrote in his poem: Maybe you and I will eventually be unknown, but you should know that I was moved by you.

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Extended Reading
  • 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

  • Nicholas 2022-03-27 09:01:05

    The same rhythm and love as an old movie, I watched it with a British boy in the classroom at the University of Manchester~~The day Gaddafi died, the city was full of fireworks and police.

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.