Asian cinema director Wong Kar Wai received a triumphant amount of critical acclaim throughout the '90s with works such as, Days of Being Wild, Chungking Express and Happy Together, but it was not until 2000 that he had unknowingly crafted and successfully executed his magnum opus, In the Mood for Love. Four years later, Wong Kar Wai released 2046 (a follow-up), which I consider his unsurpassed masterpiece, further proving himself as an artist who gradually improves with age. While I am not particularly fond of his debut feature, As Tears Go By and mid-90s "music video", Happy Together, I still consider him one of the most reputable directors working today. Filming In the Mood For Love took time, fifteen months to be exact and when it premiered at the Cannes in May 2000 it had only just been completed. The reason for such a huge amount of time being spent on one picture was due to the director's appropriate love of improvisation, something which should be noted upon viewing.
When an American film deals with romance, sex often becomes a strategic selling point. In the Mood for Love somehow manages to avoid this by keeping a restrained and highly sensual milieu in constant view, while still remaining subtle. Essentially, In the Mood for Love is about trapped memories and the yearning to follow one's instincts. Set in Hong Kong during the '60s, a newspaper editor (played by Tony Leung) and neighbouring secretary (Maggie Cheung) develop a close, yet momentary friendship on finding that they both doubt the loyalty of their own lovers and share a similar sense of urban alienation. Nonetheless, it becomes noticeable that the two so-called sociologically middle-class- "friends" do not just relate, but each hold an overwhelming and unspoken desire for the other. Unlike their extramarital lovers, the two "friends" confine themselves from becoming impulsive, however the film argues whether or not this is for the better. It would be naive to not recognise the fierce almost foreboding- lust they both have for each other. With all the implications and suited loose-ends, In the Mood for Love carries traditional film-making procedures and leaves the viewer in an almost paralytic awe through its transcendent and always relevant photography. Wong Kar Wai has an expert ability in making every little thing count; nothing can be deemed inappropriate, but only fundamental in developing the themes. Evidently, In the Mood for Love suffered a great deal of pre and post-production stress, fortunately none of this can be seen on the film's radiant surface.
It might just be me, but the film seems to have a worn look about it, whereas its successor has a noticeably more polished look. Could this be a way of representing the varying kinds of memories, or an added bonus towards the grand, lyrical set-design; personally, I believe so. Arguably, memories change with time -and therefore fade-, so subconsciously one's mind manipulates the past, only to make the original memory more distorted. I feel that this theory is similar to how the film is presented (e.g. the sudden fade-outs and strangely positioned cuts), and Wong Kar Wai's intention was to depict a story through recollection, rather than from the present moment. The claustrophobic staging is also a means of characters implying their feelings for one-an-other. Toned down shots (sometimes in slow-motion) of cramped alleyways, noodle bars and offices show characters attempting to merely greet the other in unity, while often intentionally allowing the opposing individual the chance to share a brief moment of intimacy. In this case, restraining emotion is the performer's most significant factor in capturing the loss, regret and struggle of acceptance for that of the protagonist. After all, it is a tale of doomed romance, told on an epic scale and the art of physical expression (body language) is a prominent and textbook feature for such situations. Yet in the end the film is ultimately a replaying of events, possibly through the subconscious. In the end, who knows, only time will tell, and in reference to memories dare I quote those immortal, final lines from the Rutger Hauer in Blade Runner? Indeed, films of this sort are so scarce that the pontification of romance and sensuality will linger with you for days ensuing the original viewing. It may be a strenuous viewing experience, but there is no denying the cathartic sensibility found in what is a snapshot of the fragile memories we so strive to retain.
When an American film deals with romance, sex often becomes a strategic selling point. In the Mood for Love somehow manages to avoid this by keeping a restrained and highly sensual milieu in constant view, while still remaining subtle. Essentially, In the Mood for Love is about trapped memories and the yearning to follow one's instincts. Set in Hong Kong during the '60s, a newspaper editor (played by Tony Leung) and neighbouring secretary (Maggie Cheung) develop a close, yet momentary friendship on finding that they both doubt the loyalty of their own lovers and share a similar sense of urban alienation. Nonetheless, it becomes noticeable that the two so-called sociologically middle-class- "friends" do not just relate, but each hold an overwhelming and unspoken desire for the other. Unlike their extramarital lovers, the two "friends" confine themselves from becoming impulsive, however the film argues whether or not this is for the better. It would be naive to not recognise the fierce almost foreboding- lust they both have for each other. With all the implications and suited loose-ends, In the Mood for Love carries traditional film-making procedures and leaves the viewer in an almost paralytic awe through its transcendent and always relevant photography. Wong Kar Wai has an expert ability in making every little thing count; nothing can be deemed inappropriate, but only fundamental in developing the themes. Evidently, In the Mood for Love suffered a great deal of pre and post-production stress, fortunately none of this can be seen on the film's radiant surface.
It might just be me, but the film seems to have a worn look about it, whereas its successor has a noticeably more polished look. Could this be a way of representing the varying kinds of memories, or an added bonus towards the grand, lyrical set-design; personally, I believe so. Arguably, memories change with time -and therefore fade-, so subconsciously one's mind manipulates the past, only to make the original memory more distorted. I feel that this theory is similar to how the film is presented (e.g. the sudden fade-outs and strangely positioned cuts), and Wong Kar Wai's intention was to depict a story through recollection, rather than from the present moment. The claustrophobic staging is also a means of characters implying their feelings for one-an-other. Toned down shots (sometimes in slow-motion) of cramped alleyways, noodle bars and offices show characters attempting to merely greet the other in unity, while often intentionally allowing the opposing individual the chance to share a brief moment of intimacy. In this case, restraining emotion is the performer's most significant factor in capturing the loss, regret and struggle of acceptance for that of the protagonist. After all, it is a tale of doomed romance, told on an epic scale and the art of physical expression (body language) is a prominent and textbook feature for such situations. Yet in the end the film is ultimately a replaying of events, possibly through the subconscious. In the end, who knows, only time will tell, and in reference to memories dare I quote those immortal, final lines from the Rutger Hauer in Blade Runner? Indeed, films of this sort are so scarce that the pontification of romance and sensuality will linger with you for days ensuing the original viewing. It may be a strenuous viewing experience, but there is no denying the cathartic sensibility found in what is a snapshot of the fragile memories we so strive to retain.