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"In the Mood for Love" is a very, very classic film!

In the Mood for Love, a Silent Ending

"If you have one more ticket, will you go with me?"

Swaying cheongsam , dim street lights, meticulously combed Aisi's hair, all the emotions that are still shy to express, are like a yellowed old turntable, quietly rotating in the gramophone of the years. There is no noisy impetuousness, no epitome of bubble culture, just a sad but beautiful singing of an old song: In the Mood for Love. A good movie also followed, with the same tenderness.

This is a film by Wong Kar-wai, the representative director of postmodernism in Hong Kong in the 1990s. The storyline couldn't be simpler - it tells the story of an extramarital affair between two married men and women. Another movie with a similar theme is the American "Covered Bridge". The two have similar approaches, but the latter is a Western view of love, while the concept of love reflected in "In the Mood for Love" belongs to the Eastern feelings of "the faint sadness of the white walls and black tiles of that era".

Let’s go back and talk about Wong Kar-Wai. This characterful director who often wears a pair of sunglasses produces films that are filled with strong personal colors. The "footless bird" and "One-Minute Theory" in "Days of Being Wild", Ah Fei's unruly behavior seems to be the epitome of him; in "Chungking Express", the police officers 633 and 663 have their own unique life philosophy, "Canned Pineapple" " and the theory of love preservation have also become classics of Chinese films; Ouyang Feng's sharp eyes and the atmospheric shots of "the solitary smoke is straight in the desert and the sun is setting in the long river" in "Ashes of Time" have also become the classics of many directors and even Zhang Yimou. have been used as models for reference; even "Happy Together," a controversial gay movie, Director Wang can still shoot it delicately and movingly, with the skillful use of long shots in the film, the vertical beauty of the Niagara Falls, They are also fatefully labeled as Wong Kar-Wai's style. However, Director Wang's avant-garde aesthetics was not reflected in the 2000 film "In the Mood for Love." On the contrary, this film is full of subtle beauty and hidden camera language. The theme of the film also focuses on the Chinese people's usual way of dealing with emotions, conveying the unique Eastern charm and thoughts to the audience from beginning to end. It can be said that this is a film that is least like Wong Kar-wai's style, but is deeply loved by him.

In the film, Tony Leung and Maggie Cheung respectively interpret Chow Mo-wan and Su Lizhen, two middle-class bourgeois married men and women in old Hong Kong in the 1960s with traditional concepts. They originally had their own families. One kind of fate made them all move into the same apartment, and another kind of fate made the distance between their two families just a wall. In the gradual interaction, everyone became familiar with each other. But when they met alone in the narrow corridor, they just said "What a coincidence?" and hurried past, continuing to go their separate ways. If I just lived like this, I would be at ease. But finally one day, they discovered the fact that their partners were unfaithful and they were together. Zhou and Su don't know whether it's because of a feeling of sympathy for each other, a revenge mentality, or neither. They just want to find a confidant who can express their concerns. Anyway, they became friends. They ate Western food together, wrote martial arts novels together in the famous hotel room 2046, interpreted the reasons for their lovers' cheating together, and ate glutinous rice chicken together in the hero's room early in the morning... They They all said, "We won't be like them." But later, "It turns out that some things will happen without knowing it." It proved the beginning of a bitter love. Chow Mo Yun is struggling, and Su Lizhen is also struggling, struggling on the edge of emotion and moral reason, and also wandering on the edge of love and not loving. It's a pity that in the end, none of them took that crucial step and divided their things. With the concern for the other person in her heart, Su Lizhen chose to sit in his empty room and cry silently, letting the tears flow freely down her cheeks; Zhou Muyun chose to tell the secret in his heart in the cave of Angkor Wat and bury it with soil. Live and keep it a secret forever. In the Mood for Love has a silent ending.

This is a film that will make you feel heavy after watching it, and it is also a film that will make you think after watching it. Many people watch it just because of the gorgeous cheongsam. Indeed, when those 26 sets of graceful and elegant cheongsam tightly wrap up Maggie Cheung's graceful curves, it is indeed a beautiful enjoyment. But if you watch this film just to appreciate the beauty of the costumes, it would be a bit of a waste of a good film.

A good movie is like a cup of tea. It doesn’t taste very good at first, but after you taste it carefully, a refreshing fragrance will flow through your internal organs unconsciously. "In the Mood for Love" is such a film. Whether it is the exquisite close-ups in the lens, the soft light cast by the dim street lamps in the drizzle, or the vivid gradations of colors in the entire picture, the eye-catching tonal matching skills are all manifestations of the profound skills of director Wong Kar-wai and cinematographer Doyle Kefeng. There is also the sound art in the film that must be mentioned. Even the sound effects of raindrops falling to the ground are so contagious, not to mention the main theme of the film that sounds appropriately when the hero and heroine meet many times in the corridor - -A violin piece with a hint of depression in its lyricism. The hardware facilities of the film are flawlessly made, but what is even more valuable is the soul of the film - the content and plot, which Wong Kar-Wai describes with the same ingenuity.