In The Mood For Love
In the Mood for Love went through a long gestation period. In the 1990s, Wong Kar-wai found some commercial success, much critical acclaim, and wide influence on other filmmakers throughout Asia and the world with films such as Chungking Express and Fallen Angels, both set in present-day Hong Kong. His 1997 film Happy Together was also successful internationally, winning him Best Director at the Cannes Film Festival and surprising many. It was even popular with mainstream audiences in Hong Kong, despite its then-unusual focus on a gay love story and its having been largely improvised in Argentina, a landscape unfamiliar to Wong. By the end of the decade, with sovereignty of Hong Kong transferred from Britain to the People's Republic of China, Wong was eager to work once more in the mainland, where he had been born. He had been dissatisfied with the final result of his 1994 wuxia epic Ashes of Time, which was set in ancient times and filmed in remote desert regions, and decided to deal with a more 20th-century, urban setting.
In The Mood For Love
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By 1998, Wong had developed a concept for his next film Summer in Beijing. Although no script was finalized, he and cameraman Christopher Doyle had been to Tiananmen Square and other areas of the city to do a small amount of unauthorized shooting. Wong told journalists the film was to be a musical and a love story. Wong secured the participation of Tony Leung Chiu-wai and Maggie Cheung to star, and with his background in graphic design, had even made posters for the film. He had begun work on script treatments, which since Days of Being Wild, he tended to treat as only a very loose basis for his work to secure financing, preferring to leave things open to change during the shoot.
On Rotten Tomatoes, the film holds an approval rating of 91% based on 144 reviews, with an average rating of 8.0/10. The website's critical consensus reads: "This understated romance, featuring good performances by its leads, is both visually beautiful and emotionally moving".[11] On Metacritic, the film has a weighted average score of 85 out of 100 based on 28 critic reviews, indicating "universal acclaim".[12] Roger Ebert of the Chicago Sun-Times gave the film three stars out of four, calling it "a lush story of unrequited love".[13] Elvis Mitchell, writing for The New York Times, referred to it as "probably the most breathtakingly gorgeous film of the year".[14]
In 2000, Empire ranked it number 42 in its list titled "The 100 Best Films of World Cinema".[19] It was ranked 95th on 100 Best Films from 1983 to 2008 by Entertainment Weekly.[20] In November 2009, Time Out New York ranked the film as the fifth-best of the decade, calling it the "consummate unconsummated love story of the new millennium".[21]
They are in the mood for love, but not in the time and place for it. They look at each other with big damp eyes of yearning and sweetness, and go home to sleep by themselves. Adultery has sullied their lives: his wife and her husband are having an affair. "For us to do the same thing," they agree, "would mean we are no better than they are." The key word there is "agree." The fact is, they do not agree. It is simply that neither one has the courage to disagree, and time is passing. He wants to sleep with her and she wants to sleep with him, but they are both bound by the moral stand that each believes the other has taken.
You may disagree with my analysis. You may think one is more reluctant than the other. There is room for speculation, because whole continents of emotions go unexplored in Wong Kar-wai's "In the Mood for Love," a lush story of unrequited love that looks the way its songs sound. Many of them are by Nat King Cole, but the instrumental "Green Eyes," suggesting jealousy, is playing when they figure out why her husband and his wife always seem to be away at the same times.
Cheung and Leung are two of the biggest stars in Asia. Their pairing here as unrequited lovers is ironic because of their images as the usual winners in such affairs. This is the kind of story that could be remade by Tom Hanks and Meg Ryan, although in the Hollywood version, there'd be a happy ending. That would kind of miss the point and release the tension, I think; the thrust of Wong's film is that paths cross but intentions rarely do. In his other films, like "Chungking Express," his characters sometimes just barely miss connecting, and here again key things are said in the wrong way at the wrong time. Instead of asking us to identify with this couple, as an American film would, Wong asks us to empathize with them; that is a higher and more complex assignment, with greater rewards.
Wong Kar-wai leaves the cheating couple offscreen. Movies about adultery are almost always about the adulterers, but the critic Elvis Mitchell observes that the heroes here are "the characters who are usually the victims in a James M. Cain story." Their spouses may sin in Singapore, Tokyo or a downtown love hotel, but they will never sin on the screen of this movie, because their adultery is boring and commonplace, while the reticence of Chow and Su elevates their love to a kind of noble perfection.
Taking place in Hong Kong of 1962, a melancholy story about the love between a woman and a man who live in the same building and one day find out that their husband and wife had an affair with each other.
I remember back when this girl and I were still together, she once asked me when I fell in love with her. I told her it was like a house you pass every day on the way to work. One day, you notice a for sale sign on an empty lot. Another day you drive by and you notice they've laid the foundations. Another day, the walls are up, and another day there's a roof, a garage, and finally a family living inside. You don't know exactly when all this happened; you just looked one day and noticed it was there.
still probably the definitive cinematic depiction of romantic longing and loneliness. every texture, color, composition, song and overall stylistic flourish contributing to an intense mood of lush melancholy. also helps that most of this movie is just two of the hottest hong kong actors of all time, sitting around beautiful mise-en-scène in beautiful clothing, smoking and eating noodles sensually.
Part of the reason I love this film is because despite being outlandishly beautiful and having a wardrobe of perfectly fitted qipaos, Mrs Chan is depicted in very modest surroundings. The room that she rents is tidy, but small; she carries a stainless steel soup pot to the local outdoor stall for noodles; and she repeats her wardrobe, with almost every single one of her qipaos appearing at least twice in the film.
This is the qipao that opens the film, and personally my favourite dress (I do have a thing for florals). I love the contrast of the colours, it is bold but very feminine. I also love the scene of Mrs Chan in the diner, wearing this dress and drinking coffee from a jade coloured vintage coffee cup. Stunning.
I love the scenes of her wearing this qipao in the kitchen and waiting down at the noodle stall, the contrast between her being so put together in this dress, and her banal surroundings, especially at the noodle stall, shows her vulnerabilities really well.
To coincide with the month of love, the exhibition features a finely curated selection of pieces from coloured diamonds and sapphires, heart shaped diamonds and more. In The Mood for Love offers a range of sparkle for a special someone.
This guest suite is located in a pine forest, home to a 1600-year-old tale where a fairy is said to have fallen in love with a young farmer. A reminder of the romance in folklore, this guest suite mimics the shape of sprouting mycelium and offers a unique circular resting space. With a horizontal window encircling the entire suite, guests are confronted by panoramic views of the wondrous pine forest.
John Bradley is a federal prosecutor, former writing instructor, avid book lover, vinyl collector, green tea connoisseur, and The Wild Detectives regular living in Oak Cliff. Follow him on Twitter @_johnbradley.
The Academy of Motion Picture Arts and Sciences will host a special screening of director Theodore Witcher's "love jones" on Tuesday, June 13, at 7:30 p.m. at the Samuel Goldwyn Theater in Beverly Hills. The evening will reunite stars Nia Long, Larenz Tate and Isaiah Washington, and feature a panel discussion with Witcher and others.
Director Wong Kar-wai's In the Mood for Love is often considered to be one of the greatest movies ever made and the best movie about love. With stellar performances from Maggie Cheung and Tony Leung, it's no wonder that it got nominated for the Palme d'Or at the Cannes Film Festival while Leung won the Best Actor award.
Wong's second directorial work, Days of Being Wild started the aforementioned trilogy and starred some of the best actors from Hong Kong at the time including Leslie Cheung, Andy Lau, Maggie Cheung, Tony Leung, and others. The movie also relies on color to convey set the mood and stylize its appearance like other works of the director.
We talked about family, love, what we wanted out of life and things we had not gotten out of it. Since we spent most of the day going about our separate schedules, we cherished the nights where it was just the two of us. One night while we were waiting for the train, one of our friends remarked that we were like a married couple.
Back in London, Craggs has spent the past year setting up his tanks to mimic those same conditions. Just a handful of white pearls inside the tank would be enough to tell him that his corals, like those off Fiji, are in the mood for love.
Set in Hong Kong of the mid-1960s which was then a British colony, In the Mood for Love tells the story of two neighbours falling in love after they discover that their spouses are having an adulterous affair with each other. What starts as chance glances in the mahjong parlour of another neighbour and the narrow stairways of their apartment building develops with furtive looks exchanged in the dark corridor leading to the local takeaway. 041b061a72