"In the Mood for Love" belongs to them
Many years later, when we mentioned Tony Leung's sullenness and Maggie Cheung's graceful beauty, the first thing that came to our mind was "In the Mood for Love". Liang's eyes and Zhang's cheongsam were fixed in Cannes that year, becoming the eternal labels of the best partners on the screen.
This is a story about ambiguity and distance. The plot is so simple that no generalization is necessary, and there are no more than five exposed characters with lines.
Every audience has exquisitely experienced the charming power of ambiguous, and the director throws the infinite charm of ambiguous to people. Ambiguity is to maintain a psychologically safe distance between the sexes, and to paint a mediocre life with attractive colors. Ambiguity is the outlet of desire in the eyes, the temptation of the lower waist of the cheongsam, and the hormones that permeate the city with oxygen atoms in the life. Responsibilities are too clumsy to describe the moment of temptation; a marriage contract is like a lie, unable to restrain a helpless life. Ambiguity comes easily. In "In the Mood for Love", the male and female protagonists sing the ambiguous to the extreme.
The rhythm of the movie is fast, but the details are so slow. The dialogue between the two people who seemed to be talking about a book was flashed back with only one shot, but the moment when the two met, there was a feeling of eternal solidification in the world. The story follows the pictures frame by frame, the colors are so thick that they drip off the screen, and the atmosphere is so sticky that water can be squeezed out. Wong Kar Wai expressed the physical distance when they met with extreme detail, as if he could hear the sound of clothes in the air.
The cramped alleys, the dilapidated corners, the repeated passages, the clock, Wong Kar Wai is doing the dojo in the snail shell. The gesture of the alluring city, the road of generality, this is an Eileen Chang-style Hong Kong with a taste of Shanghai. Du Kefeng's camera also captured the market in a style. Maggie Cheung, who was carrying a deflated thermos bottle, went downstairs to buy wonton noodles. Liang Chaowei, who was afraid of being seen by his neighbors, was holding the glutinous rice chicken tightly, and the steak in the movie seemed to be the best. The food, accompanied by music, was cut and chewed piece by piece by Maggie Cheung. The food in the Mood for Love is full of warmth. As Yasujiro Ozu said, those who can endure the pain of life are good people, and they deserve decent meals.
They are light on emotions and heavy on life.
In a relationship, being brave can't solve all problems. Zhou Muyun asked Su Lizhen, "If there was an extra ticket, would you go with me?" But he turned away without waiting for an answer. This sentence can continue to ask, if I was brave at the beginning, would the ending be different? If you insist at that time, the memory will not be like this. There is only one answer: We are what we are because that is who we are. He had looked for her, but turned around in front of the door, preferring to spit the secret into the cave of Angkor Wat; she came to his residence, leaving only the cigarette butt left with the lipstick and the slippers carrying the memory. They used to be so close, and they were so far apart.
Of course, this relationship is doomed to fruition. I have counted Leslie Cheung, Tony Leung, Maggie Cheung, Takeshi Kaneshiro, Carina Lau, Zhang Zhen, Brigitte Lin, Li Jiaxin, Faye Wong. The most beautiful men and women in Hong Kong and Taiwan, which one has had a happiness in Wong Kar Wai's movie ending? In fact, happiness is only the purpose of life and has nothing to do with the essence of life. Besides, what kind of beauty can survive the time?
"Those lost years, as if separated by a dusty glass, can be seen but not grasped. He has been missing everything in the past, if he can break through the dusty glass, he will walk back to the long ago years gone by."
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