Wong Kar Wai’s In The Mood For Love: An Ode To Melancholia
To me, Wong Kar-Waiโs In the Mood for Love is not just any film. It is an ethereal experience. I had watched the mesmeric romantic drama on a tranquil evening. Having woken up from a contented sleep, I felt my disposition fit impeccably with the filmโs dreamlike ambience. But little did I know that an entire poem lay before me.
The filmโs primal characters, Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung), shares the most divine form of love. Their intimacy begins with the acknowledgement of their spousesโ infidelity. But their own bonding isnโt anything as such. It was solely based on melancholy, a sentiment that lingered upon humanity since the beginning of time.
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Their lives are hectic. Chow works as a journalist, while Su is an executive secretary. At the end of a frenetic day, they long for warmth. But their yearning is left cold and void with the absence of their spouses. Their neighbours, their acquaintances, barely notice the suppressed woe, which is well covered with feigned smiles. But it is in the dark stairways, illuminated hallways, and empty rooms, where their poignance reflects upon their faces.
Christopher Doyleโs cinematography did commendable work in capturing the doleful look of the characters. The floral patterned wallpaper, Chowโs cigarette smoke, and Suโs series of graceful cheongsam dresses elevated the filmโs celestial tenor. In supplementation to these, Shigeru Umebayashiโs Yumejiโs theme propels the viewer into surreality. Personally, I regard it as one of the few earthly elements that flooded me with utter serenity.
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But it was Wong Kar-Waiโs mere cinematic cleverness that caused the film to be so heavenly. True, the characters were quite in the mood for love but they didnโt allow themselves to indulge in the perversion of affection. Moreover, there wasnโt any appearance of either of the spouses, let alone their suggested profanity. I believe, Wong Kar-Wai decided to completely disregard immorality and keep love in its purest form. Therefore, Chow and Suโs love, unrequited as it may be, was nebulous yet seraphic.
By the end of the film, I could easily relate with itโs noteworthy caption, โ…the past is something he could see, but not touch. And everything he sees is blurred and indistinct.โ, I, too, was left with a cinematic experience which was both blurred and indistinct yet strangely tranquil.