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In the Mood for Love
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$11.99 to $34.97
IN THE MOOD FOR LOVE centers around Chow Mo-Wan (Tony Leung) and Su Li-Zhen (Maggie Cheung), neighbors living in a crowded apartment...
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IN THE MOOD FOR LOVE centers around Chow Mo-Wan (Tony Leung) and Su Li-Zhen (Maggie Cheung), neighbors living in a crowded apartment building in 1962 Hong Kong. Both married to people who are always away, they spend many nights home alone. The two make each other's acquaintance and soon find that they have a lot in common: Both enjoy martial arts, frequent the same noodle stand--and eventually discover that their spouses are cheating on them. (Mo-Wan's wife is having an affair with Li-Zhen's husband.) Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates. <br> <br> Wong Kar-Wai's seventh film reunites him with Leung and Cheung, who provide perfectly evocative performances as the two hesitant would-be lovers. A slight departure from his more recent films (in which he used hyperkinetic camera movements to reflect the frenetic pace of modern Hong Kong life), here Wong uses fixed shots and stages static tableaus to capture a lost historical ...
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22 Reviews from Epinions.com
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In the Mood for Love
Wong Kar-Wei, the Hong Kong director renown for his visually sumptuous, unscripted films (Chungking Express, Happy Together), delivers another story about detached human relationships.
This time it revolves around two individuals, veterans Tony Leung (Chungking Express, Happy Together), and Maggie Cheung (Ashes of Time). As neighbors in the same building that have spouses that never seem to be around and that eventually audiences find out are actually having an extramarital affair, you'd expect these two cosmopolitan, attractive people to engage in some illicit coupling of their own given their circumstances. Quite the contrary.
The sexual tension is there and at times quite charged, but the two remain painfully reserved about any romance blossoming. The exchanges are classically Chinese and very platonic, but the glimmer in both of their eyes, the wayward glances, and hushed utterances betray their passion and angst. It hearkens back to a time when actors and actresses could act with their eyes alone.
Wong Kar-Wei has crafted this story with visual elements that tease viewers. If Maggie and Tony are reserved in their feelings toward each other, the setting and costumes are an explosion of colors, textures, and patterns. Every new scene with Maggie depicts her wearing a gorgeous new dress of striking pattern (production designer Chang Suk-ping to be applauded here) that displays the Chinese 50s-60s sensibility. Christopher Doyle, long-time collaborator and cinematographer (few people knew he was the DP for van Sant's remake Psycho) and Li Ping-bin both create a world that is reminiscent of old Chinese cigarette advertisements and soap packaging. It is just absolutely stunning atmosphere. Maggie and Tony's chance encounters in the alley stairs, to and from the noodle shop shot in slow motion seems more befitting of a fashion runway. The sensibility is just right, and there is something terribly beautiful and tragic about how all this visual drama and marriage of costumes, shots, and sets all unfold on these two quiet people in unfortunate circumstances.
Comments about the film's slow pacing is moot. It reinforces the situation of these two characters, and adds an element of appreciation for the passing of time and memories between the two characters which is so central to many of Wong Kar-Wei's undertakings.
All things in good time
| Author's Rating: |
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Pros: Beautiful art direction, costumes, and cinematography
Cons: None.
The Bottom Line:
Highly recommended. Visually haunting and arresting. Tony Leung justly won the Cannes award for this role.
Wong Kar-Wei, the Hong Kong director renown for his visually sumptuous, unscripted films (Chungking Express, Happy Together), delivers another story about detached human relationships.
This time it revolves around two individuals, veterans Tony Leung (Chungking Express, Happy Together), and Maggie Cheung (Ashes of Time). As neighbors in the same building that have spouses that never seem to be around and that eventually audiences find out are actually having an extramarital affair, you'd expect these two cosmopolitan, attractive people to engage in some illicit coupling of their own given their circumstances. Quite the contrary.
The sexual tension is there and at times quite charged, but the two remain painfully reserved about any romance blossoming. The exchanges are classically Chinese and very platonic, but the glimmer in both of their eyes, the wayward glances, and hushed utterances betray their passion and angst. It hearkens back to a time when actors and actresses could act with their eyes alone.
Wong Kar-Wei has crafted this story with visual elements that tease viewers. If Maggie and Tony are reserved in their feelings toward each other, the setting and costumes are an explosion of colors, textures, and patterns. Every new scene with Maggie depicts her wearing a gorgeous new dress of striking pattern (production designer Chang Suk-ping to be applauded here) that displays the Chinese 50s-60s sensibility. Christopher Doyle, long-time collaborator and cinematographer (few people knew he was the DP for van Sant's remake Psycho) and Li Ping-bin both create a world that is reminiscent of old Chinese cigarette advertisements and soap packaging. It is just absolutely stunning atmosphere. Maggie and Tony's chance encounters in the alley stairs, to and from the noodle shop shot in slow motion seems more befitting of a fashion runway. The sensibility is just right, and there is something terribly beautiful and tragic about how all this visual drama and marriage of costumes, shots, and sets all unfold on these two quiet people in unfortunate circumstances.
Comments about the film's slow pacing is moot. It reinforces the situation of these two characters, and adds an element of appreciation for the passing of time and memories between the two characters which is so central to many of Wong Kar-Wei's undertakings.
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