Wong Kar-wai's films have become a brand, a logo, and a spokesperson for a kind of lifestyle. The simplest summary is petty bourgeoisie. In "In the Mood for Love", Wong Kar-wai's petty bourgeoisie spirit has been rendered to the greatest extent possible. This also makes people wonder what "tricks" he can play in the future. In fact, Wong Kar-wai's directorial debut "Carmen Mong Kok" has a different rough texture and full of passion. That Wong Kar-wai also wore sunglasses, but the sunglasses at that time were a tool for him to examine the world, not just a decoration to pretend to be cool.
The public release version of "In the Mood for Love" has deleted the sex scenes and the appearance of some other actors, making the hero and heroine's extramarital romance more pure and abstract, and more in line with the taste standards of petty bourgeoisie: surreal romance, which does not hurt moral vanity and satisfies the individual Lust is the best of both worlds. Wong Kar-wai found this path of petty bourgeoisie, pleasing and selling, artistic skills and commercial themes. This is his cleverness and his choice.
But the problem is that Wong Kar Wai is now a popular idol that is widely imitated and imitated, like some kind of flu virus. As a result of Eileen Chang being imitated in batches, she has created countless small women writers who pretend to be posing. Wong Kar-wai is not as good as Eileen Chang. What will his followers bring?
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