147 In the Mood for Love

[Dylan]

In the Mood for Love



Hong Kong, 1962: Chow Mo Wan (Tony Leung Chiu Wai) and Su Li Zhen (Maggie Cheung Man Yuk) move into neighboring apartments on the same day. Their encounters are formal and polite—until a discovery about their spouses creates an intimate bond between them. At once delicately mannered and visually extravagant, Wong Kar Wai's In the Mood for Love is a masterful evocation of romantic longing and fleeting moments. With its aching sound­track and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping Bing, this film has been a major stylistic influence on the past two decades of cinema, and is a milestone in Wong's redoubtable career.

DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURES

• 4K digital restoration with 5.1 surround DTS-HD Master Audio soundtrack, both supervised and approved by director Wong Kar Wai
• One 4K UHD disc of the film and one Blu-ray with the film and special features
• Documentary from 2001 by Wong, chronicling the making of the film
• Hua yang de nian hua (2000), a short film by Wong
• Interview and cinema lesson from 2001 featuring Wong
• Press conference from the 2000 Toronto International Film Festival with actors Maggie Cheung Man Yuk and Tony Leung Chiu Wai
• Interview from 2012 with critic Tony Rayns about the soundtrack
• Deleted scenes with optional commentary by Wong
• Music video
• Trailer
• PLUS: A new essay by novelist Charles Yu

Criterionforum.org user rating averages

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[Mr Sausage]

I just finished watching "In the Mood for Love," and I liked it quite a lot, but wow...it was 180 degrees different than 2046. It's simpler, slower, calmer, and more visually restrained (but gorgeous-looking no less).

After my first viewing of "Mood," it's even a little difficult for me to believe that "Chow" is the same character in both films. I guess what Kar-Wai might try to be saying if they are is how different people are before and after they lose their 'true' love.

Chow in "Mood" is a mellow writer/husband/dreamer. Chow in 2046 is more exciting, a playboy in the night life: brimming with the need for sex, intensely experienced with women (he has one every night), and utterly suave. I suppose what one might say is that 2046 looks at the sexual side of this man's life, while "Mood" firmly depicts the distanced, but only true, love he once had at his finger tips.

The thing about "Mood" I couldn't quite grasp was Chow's marriage. Nothing about this character in "2046" suggests that he was once married (it does suggest that he had a true love once, but it is good and lost by the time that film begins), and it really took me by surprise that he was married with "Mood" began (and I suppose it's important to note that I knew nothing about either of these, plot wise, before viewing them). Does anybody here believe that Chow actually loved his wife? Was it perhaps a marriage that completely relied on companionship rather than love? Is it the absence of sex in their marriage that moves her to cheat on him (unlikely, perhaps, since Chow is revealed to be quite a lover in 2046...though maybe he was devoid of that sexual technique before and during his {loveless?} marriage). The answers are left intentionally blank in the film, but I couldn't help but conjure them having seen both films.

What exactly does Chow do at the end there in the ruins? I had a hard time trying to grasp what Kar-Wai was trying to do with his character ending it there, with him 'breathing' into the marble wall and having the grass grow out of it, Chow continuing to wander, the love lost forever (thus, transforming into a Playboy who has many women, forever prohibiting himself to keep one). So, I'm assuming by the end he has divorced his wife (however, Su stayed with her husband)?

It was explained earlier in the movie. It's an old legend: you carve a hole in a tree, whisper a secret into it, and then fill it in with dirt, trapping the secret. What it brings you, I forget, it's been a while; but just watch the movie again and it will be explained.

[ellipsis7]

And then 2046 begins with the hole...

[Grimfarrow]

One thing you have to understand is that in Wong Kar-Wai's world, nothing is ever linear. What that means is that Chow Mo-Wan in ITMFL and 2046 may not even be the same man, despite the name, actor, and some history shared between the characters. Just look at Su Li-Zhen from her DAYS OF BEING WILD days to ITMFL to being played by both Gong Li and Maggie in 2046. Wong changes details at will, sometimes on impulse.

In other words, 2046 isn't a sequel to ITMFL literally. But it's a sequel in terms of the ideas expounded.

[ellipsis7]

Yes, the narrative and character development time elapsed between the three films does not match the year settings of each drama... The maturing of Maggie Cheung/Su Li-Zhen from DAYS OF WILD to IN THE MOOD FOR LOVE is more than in the couple of years of strict story time elapsed between the 2 films... And similarly Chow's development does not necessarily imply it is exactly the same character from ITMFL to 2046...

WKW decribes the three films as 'continuations' of one another rather than strict sequels, with all that that implies... Rather like Godard, he quotes widely, including from himself, forming a palimpsest, a layer of texts, that can be read in many ways...

So the idea of hole, if not the exact hole, at the end of ITMFL is taken as one starting point for the imaginations and reality of 2046...

[colinr0380]

So, I'm assuming by the end he has divorced his wife (however, Su stayed with her husband)?

Yes I agree with grimfarrow and ellipsis7, it is an exploration of ideas with sometimes the same actors. It provides another interesting layer to think of them as being the same characters from previous films, but no specific connection is made.

In the making of and deleted scenes you get a fascinating view into the directions in which the characters could have gone (or did go but just not as explicitly in the final film) - the motivations of the pair, a couple of musical numbers and a missed meeting between the pair many years later where you see the Maggie Cheung character has a child, is still married and is selling her flat and moving to be with her husband, I think. You also see the Tony Leung character with his latest girl, who senses some reason for their return to the neighbourhood and that it is over another woman. I could see why the scenes were removed, but they show very well how Wong Kar-Wai works, feeling his way through the material, trying out different things. It must be hard for producers and actors to let themselves go to allow the director to make his films. I guess there needs to be complete trust in his abilities to shape his material and a hands off approach from others (apart from (film festival) deadlines of course!)

[Dylan]

I wanted to thank those who replied, very fascinating information, and it very much enhances my appreciation and understanding for this truly great director (and now I finally see why people compare him to Godard...but with that said, it also seems like these films could be interpreted as individual dreams; the interconnecting characters between films, the use of music and slow motion, and his visual style absolutely supports that). I watched the deleted scenes on the DVD, and the only one I'd want back in the film is the "In Room 2046" scene, which beautifully establishes the room they both met at, but I agree with him that it doesn't need to be there (it's just a good scene). The other scenes are fascinating (in how many possibilities there were, and how brilliantly he decided to let these all go for the ending he has now), but they seemed rather inappropriate (the film definately would've dragged with those). I haven't watched the other extras yet, but I'll get around to them.

[Panda]

I have the Criterion DVD, but I went to catch the film on the big screen. In their last taxi ride when Mrs. Chan says she doesn't want to go home, they join hands (for the first time) and there is a close-up of a red, heart shaped object (perhaps a marker for the key to room 2046).

This shot does not appear on the Criterion DVD. But I looked at the deleted scenes and in the Ankor Wat sequence he is shown putting that same object into the hole in the wall and covering it up with mud and grass. This shot was deleted from both the film and the DVD. But the earlier reference to in the taxi was in the film version I saw.

Can a kind member please enlighten me as to what is happening here?

Also. a couple of posters on IMDb say they understand Chinese and claim that the child shown with Mrs. Chan at the end of the film is the offspring of Mr. Chow and Mrs. Chan. This is not addressed in the subtitles of either the film or DVD. Can this be correct?

If you wish, please enter your responses as hidden spoilers so as not to disturb any other members' enjoyment of the film.

Thank You,

Panda

[backstreetsbackalright]

From Peter Brunette's book on Wong Kar-wai for the Univ. of Illinois' Contemporary Film Directors series:

After In The Mood For Love, Wong made a delightful short, set in a present-day convenience store, called In The Mood For Love 2001. Starring Maggie Cheung and Tony Leung once again, the film was shown at the Cannes Film Festival in 2001.

Anyone else at all familiar with this? It's news to me. According to the same source, Block 2 Pictures is the distributor.

[Dylan]

Somebody started a thread on "In the Mood for Love 2001" not so long ago, but it got no responses. I doubt it has been shown since its Cannes screening...would make a nice addition to the extended version of "The Hand," if a release of that ever gets off the ground.

[Michael]

the extended version of "The Hand," if a release of that ever gets off the ground.

I didn't know there is an extended version of The Hand. I'd LOVE to see it even though I think the Eros version is just perfect the way it is.

[psufootball07]

All I can say is wow after seeing that film. Really the best film I have seen that has come out in the last decade. If anybody knows the name of the title song played throughout it would be greatly appreciated. So elegant and beautiful, I will definitely purchase this ASAP.

[miless]

The three songs by Nat 'King' Cole are quite amazing, but the one that sticks out is "Quizás, Quizás, Quizás"

[psufootball07]

Thanks, I found through that link that the song is Yumeji's Theme. Here is a video of the complete song on youtube,

[mmacklem]

I just finished watching this film for the third time, and I am finding it more amazing with each viewing. However, I am still absolutely perplexed by the ending, and have been every time I have watched it. I understand why Mr. Chow is whispering into the hole and covering it with mud. But why is he in Cambodia? What is the significance of the historical moment of De Gaulle's visit to Cambodia? I read one review just now about how Mr. Chow is trying to put himself in history after his experiences, to reinforce the blurriness of his recent memories. But why in Cambodia? Why in Angkor Wat? Am I missing something?

[Shrew]

The cynical answer is just because Wong had made a scene where Leung and Cheung meet again as tourists at Angkor Wat (because it is pretty and touristy?), but only used the end.

I remember reading an argument that the De Gualle visit is there to represent a shift in times-- Western philosophy about free love and revolution now entering Asia, thus making the lovers' once scandalous relationship now possible. That goes with the 'wrong place/wrong time' feel and 2046's subsequent mood. I don't really buy it though- especially the Western side of that.

If nothing else, I do feel it is important that the scene happens somewhere separate from the rest of the film. It adds to the haunting notion of memories following one everywhere.

[karmajuice]

The extra features on the DVD go into detail regarding this. In general, the special features do an excellent job of contextualizing much of what happens in the film, since Wong was deeply concerned with the setting. It really adds to the richness of everything on later viewings.
I forget the exact reasoning regarding Cambodia, but in an interview Wong explains the purpose of the De Gaulle footage. He included the footage to give a broader perspective of what happened at that time, and the documentary quality of the footage offers a complimentary indifference (in opposition to the sensual camera we experience most of the time). He thought that the viewer needed to be let back into the world after spending the entire film in these very personal and intimate situations. I suppose it acts as a counterbalance to the narrow focus which comes before it. Of course, it serves as a marker for time passing as well, and more importantly for times changing, as Shrew notes above.

I watched this again (third time? maybe fourth) a few weeks ago with some friends, and followed it up with the extra features that I hadn't watched yet. I, too, find myself liking it more and more (the first time I was indifferent, the second time I was enraptured by it, and every subsequent viewing has yielded more intricacy and emotional resonance). The final scene in Angkor Wat, regardless of what practical purpose it serves, makes me ache all over every time I watch it.

[Matango]

It's pretty simple really. As a journalist, he is in Cambodia to cover whatever it is that De Gaulle is doing there (can't recall off the top of my head). The inclusion of De Gaulle's visit also puts a date on when the events take place.

[Jeff]

Blu-ray announced for October, with some differences from the DVD edition:

- The music of In the Mood for Love, presented in an interactive essay, on the DVD edition
- Essay by film scholar Gina Marchetti illuminating the film’s unique setting on the DVD edition
- Photo gallery on the DVD edition
- Biographies of key cast and crew on the DVD edition
- Two new interviews with critic Tony Rayns, one about the film and the other about the soundtrack, on the Blu-ray edition
- Plus: A booklet featuring the Liu Yi-chang story that provided thematic inspiration for the film, an essay by film critic Li Cheuk-to, and a director’s statement (DVD edition); a booklet featuring an essay by novelist and film critic Steve Erickson and the Liu Yi-chang story that provided thematic inspiration for the film (Blu-ray edition)

[Tom Hagen]

Should be sumptuous in high definition. Possibly my most anticipated upgrade in the Collection.

[Finch]

Same here. Cannot wait!

[movielocke]

My guess is that their attempts to secure bluray legal clearances for the booklet and dvd supplements are why this has not come out sooner. I guess they finally gave up on getting the DVD package through legal for bluray release, and decided to delete what they couldn't clear, and add some new stuff so they could go ahead and release the film in a pseudo-equivalent package.

I remember when this came out on DVD, it was one of the first times I used Amazon's 'share the love' program where you could send a 10% discount on a title to your friends on the same title. A friend sent me the discount and I blind bought the title, my first criterion blind buy. At the time we thought it was such a great deal to get a criterion release for $26 (amazon usually discounted preorders about 25-30% so another 10% off dropped it down to about that).

Considering I now get all my criterions for $18 or less via the BN sale, I think my price awareness has shifted, so if the sale goes away it's going to be extremely hard to buy criterions as liberally, even if the best price reverts back to ~35% off

[AlexHansen]

I keep meaning to give Suzuki's Yumeji a spin, just to see the theme in its original context. It works so perfectly in Mood that it's hard to picture it accompanying anything else.

[feihong]

It is not the principal theme in the film Yumeji. The piece appears in only one scene that I can recall, in the middle of the movie, and it plays rather faintly in the background. The scene is amazing to watch--a flashback in which rain or some kind of design motif is actually painted on layers of glass in front of the actors, and seems to change direction constantly throughout the scene. The dialogue is deliberately stilted and artificial, because it reflects someone's recreation of a scene from memory rather than the actual scene playing out.

The whole score to Yumeji is pretty beautiful, though. There is a vocal work that is the main theme. It features several times and is quite stunning; creepy and nostalgic and sad all at once.

[AlexHansen]

Ooo, I'm definitely going to have to bump that up my viewing pile. Since the piece is called "Yumeji's Theme", I just figured it was in reference to the film as a whole.