On the Artistic Beauty of In the Mood for Love

Watching the movie "In the Mood for Love", dark colors, dark environment, obscure images and hazy feelings will produce strange and subtle feelings when they are intertwined. The strongest thing about Wong Kar-wai is that people fall into a mood, which may be the English translation of the film: In the Mood for Love. His narrative structure, picture modeling and image expression are all original and won the essence of China's classical aesthetics.

Narration-the absence of characters

In In the Mood for Love, the extramarital affair between his wife and her husband brought Zhou and Su into tentative contact, thus opening their emotional entanglements of acquaintance, pity and love. A seemingly simple extramarital affair story, one bright and one dark, two story lines. It was through Zhou and Su's speculation about the lover's cheating motive that it gradually developed into another extramarital affair, which clarified the clues for the audience.

In the whole film, neither Zhou Muyun's wife nor Su Lizhen's husband appeared positively. This hidden "absence" technique of the main characters intentionally weakens the image of Yun's wife and husband. Wong Kar-wai used a series of shots to marginalize two people through sound and local close-ups. Su and Zhou meet frequently, but at the same time, it implies that the other two must be the same, and it is natural for them to have an affair, so that the audience can only infer their infidelity from limited speech recognition and details. In this way, the two clues of reality and reality pull and contain each other, which promotes the development of the plot. When she realized something, there was a subtle change between her and the cloud. The two met again, and they dated. However, this almost anti-moral feeling torments them at the same time. They keep reminding themselves that they won't be like the other two, just because they are afraid of being abandoned. Accustomed to each other's days, but unable to continue. At this time, it seems that there has been a prelude to parting.

? (B) Picture-lonely "blank space"

In In the Mood for Love, the photographer used slow motion to match the lonely lights at the crossroads, dragging figures, curling smoke and other pictures to render the loneliness of Zhou and Su. Reasonable use of hand-held camera to follow up the shooting makes the picture space of the film have a sense of flow, forming a wandering change of viewpoint. This seamless and smooth vision creates an emotional style and the beauty of ethereal artistic conception. In order to create a suitable atmosphere, Wong Kar-wai specially chose tunnels, attics, guest rooms, offices and streets. As the location of the story. The same characteristics of these places are narrow, crowded and dark. Judging from the color, most of the pictures are hidden in the dark, with only a small part of bright areas. In such an environment, it is particularly easy to feel uneasy, and many plots are arranged outside the audience's sight, which can arouse the audience's guess. This coincides with the psychological state of the characters and is imprisoned in a dark frame. In real life, it is always subject to secular moral concepts and cannot get out of its own territory. At sixes and sevens, dependent on the body, the heart has nothing to trust.

(4) The use of tree hole images and voiceover monologues is different from the written description of the protagonist's psychological dynamics in the novel. Movies usually use voiceover monologues to express their inner world. In Wong Kar-wai's films, we can often see the hero talking with objects to express his feelings. For example, in Chongqing Forest, the policeman with number 223 bought a can of pineapple that expired in May 1 every day from the first day of breakup. "I don't know when, everything will be one day, saury will expire, meat sauce will expire, and even plastic wrap will expire. I began to wonder, is there anything in this world that will not expire? " After this action lasted for a month, he gradually realized that his girlfriend had really left him. Love, like canned food, has a shelf life.

In In the Mood for Love, the director skillfully used the image of "tree hole" and buried all the secrets about memory. 1963, Yun, who left Hong Kong to work in Singapore, had such a conversation with his old friend. Zhou: "Once upon a time, some people had secrets in their hearts and didn't want to be known. What will they do? " A Bing: "How should I know?" Zhou: "They will run to the mountain to find a tree, dig a hole in the tree, then tell all the secrets, and then seal the hole with mud. The secret will stay in the tree and no one will know. " So, at the end of the film, we see that several years later, Zhou Mu Yun came to Cambodia, telling something to the deserted tree hole in the ruins of Angkor Wat, and then sealed all the secrets with a handful of dirt. In order to forget, or to seal forever, these secrets left in the tree hole are all monologues in the heart of the cloud. Those past events flowed in the world of mortals.

Wong Kar-wai said, "I don't know how to say goodbye to someone I can't lose in my life, so I left without saying goodbye." In fact, leaving often doesn't need too many words. Leaving without saying goodbye is the real leaving, and never saying goodbye. And there is no formal farewell in the film. Cloud and short date, betrayal of morality and helplessness to reality always hang over the film. "If there are extra tickets, will you go with me?" It was an awkward confrontation, and before she could answer, he habitually took her silence as a refusal. Then she lit a cigar in the room where he left. Instead of smoking, she just left it there to let its smoke linger, hover and dissipate, and there was an atmosphere as if he were still there. But he has gone to the other side of the ocean.

? I remember myself at that time, hiding in a dimly lit room, watching movies silently with sadness and admiration. Walking out of the movie with the curly figure of cheongsam, the mood of love finally turned into a fleeting or irreversible time with regret, and the story ended like this.

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