“Sex never occurs during In the Mood for Love but I’ll be damned if this isn’t one of the sexiest films I have ever seen”. -Anonymous
Wong Kar-Wai’s ‘In the Mood for Love’ is often cited as one of the greatest films of this century in popular lists and in the lists of critically acclaimed films. It is indeed a masterpiece that has endured the test of time.
I recently watched a series of Wong Kar-Wai films; I started with his Debut ‘As Tears go by’ and even though the film was a bit underwhelming as compared to his other better films, that film had the glimpse of WKW’s trademark lyrical style of storytelling. With his second film, ‘Days of Being Wild’ he delivered his first masterpiece.
“In the Mood for Love” is Wong Kar-Wai’s most poetic work till date.
This film is a delicate conversation between Mr. Chow and Mrs. Chan, neighbors in 1960s Hong Kong who suspects that their spouses are having an affair with each other. Talking about their spouses and enacting what must have happened between the cheating partners is how Mr. Chow and Mrs. Chan bonds with each other.
In the mood for love is a film about details and little encounters instead of a complex storyline. Instead of focusing primarily on the characters, WKW emphasized intricate details such as the fleeting glances and the occasional touches. The music of the film complements those details perfectly. The glances are so well choreographed using slow motion technique that every little movement of their eyes and hands has a huge significance in how the relationship develops throughout the film.
Time and Place are crucial elements in this film, the cultural climate of the 1960s Hong Kong is visible more often than you notice. The film’s color portrays the beauty of Hong Kong of that period. Time and Place never allowed this two socially impaired people to fall in love but rather stay only in the mood for love. Overly familiar neighbors, the society which is traditionally intrusive is presented very aptly and it is another presentation of their community. It is incredible to see that romance can be so powerful even when there is only a possibility of love. This near romance love tease is shown in the most graceful manner.
Tony Leung does what he is supposed to do as the finest actor from Hong Kong of his generation. Maggie Cheung looks incredibly classy and suave but still conservative, so much that even when she is dressed beautifully, it is never a revealing dress, it is one of many symbols Wong Kar-Wai used to represent the society in this movie.
Throughout the film, there is a romantic waltz that plays in the background whenever the two of them cross each other’s path. This waltz is so infectious that it constantly plays on the back of your mind for weeks once you have watched In the Mood for Love.
This film is exclusively about these two people, so much that even the cheating partners are never shown in the film. They have a few dialogues but we never see them, which is also symbolic of the fact that Wong Kar-Wai wanted to focus exclusively on the heroes and those who sin are not heroes.
The film and the relationship between the lead pair take their time to grow but never really develop into a fully fledged relationship and that makes the film look even more subtle. The apartment they live in is so confined that it is almost symbolic that the universe is asking them to end up together but they can’t do that because it is a sin in that society and also because their spouses did the same which acts as a moral barrier between them.
“We won’t be like them” says Mrs. Chan.