I think "In the Mood for Love" is Wong Kar-wai's most touching film. The issue of identity and separation is a very grand proposition, and we need to talk about it bit by bit...
Family ethics is the motif of Dianmao urban dramas. Of course, this is also a story of two cities, which is derived from the inheritance of old Shanghai movies. Very simple, extramarital affairs, Zhou Muyun and Su Lizhen, and each other's other half, and Lei Zhen, and Zhou's friends...
Additionally, Lei Zhen's cameo in the play, I think it is Wong Kar-wai's tribute to Dianmao, although Lei Zhen was killed by the years The pig knife killing is beyond recognition, the demeanor of the big-name hesitant Xiaosheng is still the same...
Marriage is a shackle, a prison, this may be what Wang Jiawei wants to explain, the story of the siege, it seems that the person you love may not be the person next to you, Maggie Cheung and Tony Leung Many encounters, the foreground is a fence, or the wall in the background is a shadow of the fence, they are struggling in the prison of marriage, they are bound by self-morality...
This is family ethics, although they eventually crossed The borders were reached, but in the end they each returned to the besieged city. If there is an additional assumption of a ferry ticket, it is like the broken thoughts of "We will come again" in "Spring Comes Together", Wong Kar-wai's intertextuality abounds, not only in 2046 Holidays, the names of the hero and heroine are the clocks, and the time is also the running props in "The True Story of Ah Fei"...
Whenever the music plays, the picture changes to an upgraded shot. This is the charm of that era, and people feel empty inside. In Hong Kong in the 1950s and 1960s, people from all over the world, especially those from the south, gathered here. They didn't think Hong Kong was their destination, they thought it was a transit station, but they didn't know when they would leave. This kind of inner depression Down, there is nowhere to hide...
Nanlai's identity has nowhere to hide, the name of the film echoes the songs of Zhou Xuan, Pan Dihua's Shanghai dialect, Maggie Cheung's cheongsam, and Zhou Muyun's favorite sesame paste, the occasional jazz and Peking Opera, obviously, these are not local, they are all branded from the south...
Su Lizhen, Zhou Muyun, no matter how they are related to other films, in this film, they are mourning Hong Kong in the 1950s and 1960s. At that time, people were drunk and drunk, and they had a different kind of fascination. The two looked at each other. Later, the mirror began to appear, and it was multiple pieces. They were constantly split, like the reflection in the mirror, constantly playing the other half of the actor who cheated on himself, punishing himself. The camera was always moving smoothly. There is a wall, which is an unbreakable barrier between people. There is only one time, when the two lovers are derailed, the camera is used to shake, between the two, that is the only time to speed up in the movie, the other At that time, the rhythm of the movie was so melodious, which belonged to the rhythm of that era...
Every time I went out, I had to change into a new cheongsam, put on heavy make-up, but just go to buy takeout. Perhaps, according to the interpretation of psychoanalysis, this is a sexual Zhou Muyun, Su Lizhen and he are all in a repressive environment and have to suppress their own sexual desire...
Zhou Muyun is a reporter, writes novels, and writes big characters. Drunkard reminds us of Shaw Brothers Hu Jinquan's films, Su Lizhen is the secretary, these modern character settings are the characteristics of Dianmao, and the transnationality is also the global vision of Dianmao, Japan, Singapore, Cambodia, constitute a blurred vision. In the space, it is still the Hong Kong people from the south who are still uncertain about their identity. With the rise of political movements, Pan Dihua chose to flee again. She went to the United States, Maggie Cheung stayed in Hong Kong, and Tony Leung came to Cambodia to fulfill his hidden secrets. The oath, when he talked to the tree, it seemed like an affectionate kiss, yes, the two owed a kiss to the camera...
The movie is still in the style of beautiful oil paintings, and the lighting is very particular, especially the handling of shadows. The darkness of the personal heart is exposed and the eyes of the audience. A Cambodian documentary is a parallel narrative. With the change of identity, Zhou Muyun is not home when he goes there...
Just like the subtitles, that era has long passed, and belongs to that era. Everything is gone, yes, there are no more Hong Kongers from the south. The new generation is all localized Hong Kong people or indigenous Hong Kong people, and what the director remembers is the Shanghai-style culture brought by the people from the south. An elegant life, a graceful melancholy...
View more about In the Mood for Love reviews
