Not your average love
story, this is romance Hong Kong style. During a hot humid summer in 1962, the
bustling Shanghainese community provides a sensuous grungy backdrop to one of
the most unusual love stories ever told by one of cinemas most interesting
directors.
Wong Kar-wai’s In the
Mood for Love (2000), a melancholic, nostalgic movie that is more about
mood than love, follows the tentative encounters between two well dressed,
married office workers living in shabby surroundings.
The story follows a young journalist (Tony Leung) and a secretary
(Maggie Cheung) who both moved into rooms next to each other on the same day in
a rundown apartment building. Dressed in the latest chic, while spending much
of the time awaiting the return of their spouses, who are frequently away on
business, they eventually come to the conclusion that their spouses may be
having an affair.
Filmed mostly in dark narrow alleyways, stairwells and
claustrophobic corridors of Bangkok, during the sweltering summer heat, and
using a seductive color palate of deep reds, jade greens and slick blacks, the
sensual steamy imagery is mesmerizing with its contrasting textures.
Lonely and bored, the fashion conscious neighbors find
themselves coming together for casual dinners and conversation as they relate
the possible infidelity they each suspect is occurring. While comparing notes
they recognize their spouses’ cover stories and some gift items they have in
common, and soon make a surprising discovery.
In slow motion sequences with soft latin Nat King Cole musical
refrains playing in the background, there’s a sense of longing and loneliness of
people dreaming of an intimate connection in a rainy nocturnal underworld. They
seem to be locked in a dance of regret, suggested with subtle non-verbal body
gestures and expressions.
When they realize the unfortunate connection they have in
common, they try to understand how it happened by roll playing the possible
circumstances that may have led to the current situation and how they will confront
their spouses about their extra marital activities.
The overwhelming experience you get while watching this film
is one of total immersion into a cloistered environment. We are shown vignettes
of a hidden world of tight spaces and smoke filled alleys and noddle shops where
people pass each other anonymously.
When they decide to collaborate on writing a martial-arts
serial, which they both enjoy reading, and secretly rendezvous away from their
gossipy landladies; they form an unexpected close bond of friendship. The
platonic affair is almost like a forbidden act of pleasure in an oppressive Orwellian
style environment.
In a world where infidelity seems commonplace, this couple
resists the urge, stopping just short of being unfaithful. Even though they’re
probably more justified than most, they are unable to bring themselves down,
morally, to that level.
The pleasure of watching this film is not so much in the
story but more in the visual style, the ambience, the 50s set design and
decoration, the romantic soundtrack and the photogenic actors. It takes several
viewings and careful observations to fully capture the subtle nuances. It’s
very much an art-house film with a capital A.
JP
5 comments:
This sounds like a beautiful and intriguing film. Thank you for sharing it in such a beautiful way!
Not only does there seem to be A LOT of emotion in this film, but your writing seems to have passion, respect and emotion for the film as well. I love the line "there’s a sense of longing and loneliness of people dreaming of an intimate connection in a rainy nocturnal underworld."
A well written review that captures the essence of the film.
I love your reviews - you capture the heart and soul of the film.
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