Unrequited love never looked so good in this new version of a timeless classic…
In the Mood for Love has been one of my biggest blind spots in Hong Kong cinema, let alone Wong Kar-Wai’s filmography. Only after viewing the film did I realize I have been seeing stills from the film on programs, websites, and posters for years. The iconic shots of Maggie Cheung (As Tears Go By, Clean, Green Snake) and Tony Leung Chiu-Wai (Infernal Affairs, Chungking Express, Lust, Caution) probably decorate a fair share of homes, some inhabited by people who have never seen the film. That is because the aesthetic appeal of this film is arguably unmatched, with cinematographers Christopher Doyle and Mark Lee Ping Bin creating nothing short of a visual masterpiece. The eccentric and often brilliant director Wong Kar-Wai (2046, As Tears Go By, Chungking Express) is receiving a lot of perplexed criticism over this particular release of the film. He changed the aspect ratio and some of the sound mixing. Having seen both versions of the film recently, I have to say it’s somewhat bizarre, if not a massive take away from a near-perfect film. As some might say, if it ain’t broke don’t fix it etc. Nevertheless, the sheer appeal of the film bleeds through any chaotic alterations by Wong.
In the Mood for Love tells the story of two married individuals moving into the same apartment building, on the same day. The infinitely morose Su Li-zhen played by Maggie Cheung works as a secretary at an import/export firm, and suspects her husband “Mr. Chan” of having an affair. Down the hall writer and journalist Chow Mo-wan, Played by Tony Leung also suspects “Mrs. Chow” of having a secret lover. We soon begin to realize that their partners are in fact having an affair together. This plunges both Li-zhen and Mo-wan into a sort of existential limbo, where societal expectations and internal desire butt heads. The two begin to engage in an elaborate social dance, riddled with longing gazes, inadvertent stalking, and accidental sleepovers. The backdrop is a wholly alluring 1960’s Hong Kong, arranged with the utmost nostalgic appeal. The camera work gives the audience incomplete sensations, allowing their willful minds to fill in the rest. For instance, Chow and Chan’s partners are never actually shown on screen, but only seen as a partial body or disembodied voice. Scenes where Li-Zhen and Chow are together often just show a gaze or a revealed knee. All of this is executed without an ounce of actual eroticism but absolute torrents of repressed desire.
The way Wong Kar-wai evokes a certain veiled passion between the cuckolded cohabitants is almost unbearable at times. This frustration is in no way agonizing as this film goes down like caramel and chocolate. The luxuriant soundtrack, spellbinding cinematography, and engaging performances make for a beautiful contradiction with the heartbreak and lack of satisfaction experienced by the characters. For those looking to view this film, I do recommend finding an older copy, that is to say, if it’s your first viewing, you may not know the difference. All of that being said this film is so difficult to ruin. As an entry point to Wong Kar-wai its utterly unique, and even speaks to a magical sort of nostalgia that the viewer can vicariously gorge on. If only I knew this blind spot was this big, In the Mood for Love cannot be missed for cinephiles of any sort.
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