The film review of In the Mood for Love.

Emotion has become so powerless in the face of morality, and the topic of rejection and escape has become so meaningful-the gaudy years belonging to the 1960 s are drifting away, which is also true and illusory. Only the mud seal of Angkor Wat witnessed the lost romantic years, and sincerely remembered that "the gaudy years and the moon-like spirit" with the green year after year. Things have changed, which was originally a thing of the past in Hong Kong in the 1960s. Whether it is true or not is no longer a question to ask. The graceful gait in cheongsam, graceful charm, rainy night in dark alley, dim street corner lights, faint fragrance and rhythmic music, and the back shadow of a lonely man waiting there constitute the panoramic style of In the Mood for Love. Loved but not together. That's a hard time for me to surf the Internet in the north. Separated but still affectionate, is a heart that wants to say and rest. At the end of In the Mood for Love, Maggie Cheung (Su Lizhen) returned to his hometown with tears in his eyes, and Tony Leung Chiu Wai (Mu Yun) returned to his hometown several years later. However, close at hand still can't escape the doomed miss, and this miss may be a lifetime. Memories of time and years seem to make people nostalgic and sentimental, just like the yellow card in Shanghai, which is ancient but charming, especially like that year. Back to the memory of that era, the memory of Angkor in Tony Leung Chiu Wai exists in the lens of Wong Kar-wai in the form of overlapping "doors", which is where everyone goes in and out, where they come with sincerity and go with prayer. Sincerity is a desire, prayer is a desire. Therefore, as Mr. Qian Zhongshu said, we are allowed to pursue and express our desires. When Tony Leung Chiu Wai's memory was sealed and he thought it was easy to leave, a monk turned his back to the camera and looked down at his every move. Tony Leung Chiu Wai has become the object of attention. The authorities are confused, but outsiders are clear. What's more, he is a monk who thinks he is enlightened! No matter how sealed the burning desire is, it is only a means of self-deception, but it is just a bluff. The love and civilization that belongs to him and her are eternal memories, fresh and concrete. In fact, the opening credits of the film have set the ending for the inevitable separation of the hero and heroine-"That's an embarrassing relative. She lowered her head and gave him a chance to get close. He didn't have the courage to approach, so she turned and left. " There is no reason to break up. In the film, Wong Kar-wai repeatedly emphasizes the contingency of the dislocation of the hero and heroine, conveying their accidental meeting and inevitable separation. Situational dislocation: The film begins with a series of accidents, which makes Tony Leung Chiu Wai and Maggie Cheung meet in a hurry, and interprets the story of how two passive waiters fall into the emotional whirlpool in an emotional siege and take the initiative to break through Del. In many cases, the dislocation strengthened the reason why they fell in love and separated. Situation 1. The pen for renting a house is extremely simple. Maggie Cheung booked a lease with his landlady. At the moment he turned to leave, he met Tony Leung Chiu Wai who came to rent a house. Time is too short, he may not remember anything. However, a glimpse of the world of mortals is the beginning of his life. Situation 2. Move because of renting a house and then move. Tony Leung Chiu Wai and Maggie Cheung live next door, and they choose to move on the same day. It happened that both of them were alone, so the family moved in disorder, and the furniture and daily necessities were misplaced many times by the movers. Tony Leung Chiu Wai returned the misplaced books to Maggie Cheung, which made them take the first step to get to know each other. Chance and dramatic cleanliness indicate that in the process of narrative development, the hero and heroine will be involved in some probable possibility because of this accidental mutual walk. Situation 3. The simulated film subverts the traditional narrative mode, downplays the appearance of Tony Leung Chiu Wai's wife and Maggie Cheung's husband, and only gives them the back and voice, simplifying the relationship between the four people into the story of two people. However, in the emotional world of Tony Leung Chiu Wai and Maggie Cheung, the shadows of the other two people are always entangled. In order to get the answer "How did they start?" Tony Leung Chiu Wai and Maggie Cheung experienced the truth through "simulated situations". In this way, the film not only strengthens the interest and possibilities of the film image, but also exposes the helpless inner world of the hero and heroine in the misplaced "role exchange". There are several simulated scenes in the play. One is a virtual situation of two people, trying to find out who the other's lover will be. The result is based on Maggie Cheung: "Do you know what kind of person your wife is?" Turn and leave in disgust as the ending. At this point, the virtual situation and the real situation become one, and Maggie Cheung loves and hates her husband, and there is nothing to do, so the poor situation that she can only vent her anger in words is named. In another place, Maggie Cheung asked Tony Leung Chiu Wai, who pretended to be her husband, "Do you have a woman outside?" As a result, in the case of "husband" admitting his mistake, Maggie Cheung only responded with silent tears, which was extremely sad; Another place belongs to Tony Leung Chiu Wai and Maggie Cheung. When two people are afraid to leave, they imagine the scene of parting. Tony Leung Chiu Wai let go of Maggie Cheung's hand and turned away, leaving Maggie Cheung to pinch the muscles on his arm with his fingers. In the brief darkness, Tony Leung Chiu Wai lent his shoulder to Maggie Cheung, who was crying. Two people who love and indulge their lovers are depressed at the same time. Maybe it's because we were in the same boat at first, and then we sympathized with each other, appreciated each other and cared about each other. "Imitation of reality" not only lets the audience know the cause and effect of things, but also lets the audience walk into their emotional world and feel their repressed desires and true feelings. Behind the hustle and bustle of the city, human emotions are staged in many ways, and the love in the misplaced mirror language is faintly but deeply lingering. 1. Moral dislocation: on the one hand, it is acceptance and rejection, which is the abnormal love between lovers, on the other hand, it is the traditional morality of the hero and heroine's courtesy and affection. This ethical dislocation has created a huge "tension field" for the film. Wong Kar-wai is undoubtedly smart. Choosing such a perspective with a strong sense of expansion will inevitably make the emotional catharsis unrestrained. After shooting many modern urban themes such as The True Story of Teddy Boy, Chongqing Forest and Spring Scenery, why did Wong Kar-wai go back to the 1960s and choose nostalgia? In fact, after careful analysis, it is not difficult to find that behind the surface of "nostalgia" is a metaphor for the transformation of urban emotion to the original. As Boss He said in the film, I always feel that the new tie is a little expensive (from the lady/lover), but the old one is better. The emotional loss of modern cities is mostly due to the inability or unwillingness to bear the ordinary life. What Boss He said hit the nail on the head, in fact, is that "people are not as old as they are". The image of emotional return was briefly swept by the clouds, suggesting Maggie Cheung's final emotional choice. Wong Kar-wai's ingenuity has never broken the thin emotional and moral bottom line. It is around the motif of "nostalgia" that he wandered in the emotional whirlpool of acceptance and rejection between Tony Leung Chiu Wai and Maggie Cheung, interpreting the ultimate value of moral judgment. Interestingly, Wong Kar-wai skillfully set up a series of subjective and objective backgrounds, which always provided them with the possibility of coming together in a group. The first is the convergence of subjective psychology. The emotional betrayal between another wife and husband makes the friendship between Tony Leung Chiu Wai and Maggie Cheung more likely to develop. Their congenial feelings and common interests in life are stirring the soul collision of mutual comfort. Maggie Cheung accidentally knew that Tony Leung Chiu Wai was ill and wanted to eat sesame sauce, so he cooked a big pot and shared it with everyone, including Tony Leung Chiu Wai. The taste was obvious. Tony Leung Chiu Wai fell ill in the hotel again, and Maggie Cheung rushed to Room 2046, which he didn't intend to go to, showing his concern. Knowing that Tony Leung Chiu Wai was going to Singapore, Maggie Cheung said anxiously, "We know there is nothing wrong with this." His nostalgia is beyond words. However, every time the image of "Cheongsam" is presented, it points to the "traditional" complex of China women, which restricts the appearance of another dislocation in the emotional world, or it is because the moral precept of "expression stops at courtesy" in the traditional concept has delayed Maggie Cheung's decision and failed to realize the choice of "one more boat ticket" to leave Hong Kong with Tony Leung Chiu Wai. Tony Leung Chiu Wai's affection for Maggie Cheung is also enduring. Tony Leung Chiu Wai proposed to write martial arts novels because he was with Maggie Cheung; Some people rent new apartments because they are afraid to let Maggie Cheung talk too much; Waiting anxiously, fearing that she won't come to her new apartment; Because I was worried about her, I asked her to make a phone call when she got back, without even saying a word. It is because of his profound understanding that Tony Leung Chiu Wai, after pursuing and confessing, could not break the "dusty glass" and chose to give up and leave the sad place. They stick to the moral creed that "we won't be like them". Compared with the lover's moral deficiency, he can only let his nostalgia grow. This moral opposition and dislocation is actually a broad representation of the times. Secondly, create an objective "scene language". Wong Kar-wai inherited his usual style, that is, using a small space to load the profound connotation of the influence strategy. Renting, hotels, offices, restaurants and other scenes are monotonous, lacking the warmth of family, not to mention narrow roads, narrow stairs, dim lights in the corner of the building, mottled walls, revealing embarrassment and anxiety, gloom and desolation. The aesthetic photos revealed by these directors have become Wong Kar-wai's image style, highlighting the survival situation that people who exist in the flashy world as individuals face-such longing and loss, such loneliness and loneliness. An accidental passing by can complete a misplaced abnormal love that can destroy two families, and there is no doubt that emotions cannot be grasped and pinned here. The call of "Jing Yu" is a manifestation of impermanence of life. Wong Kar-wai knows this well. From time to time, he uses the signifier function of picture modeling to render the helplessness, helplessness, depression and depression of the world in a gloomy and shallow tone in a slow music atmosphere. Every unexpected "rain" is a recognition of the feelings of Tony Leung Chiu Wai and Maggie Cheung, which shows the endless and lingering sadness of the hero and heroine. On the eve of Tony Leung Chiu Wai's departure from Hongkong and Maggie Cheung, his emotional attachment to separation was rendered and infiltrated in the rain scene, and two souls left in the love world were wrapped in the rain. The image of "smoke" is directly related to Tony Leung Chiu Wai's emotional world: after learning that his wife cheated, he was bitter and lonely under the wall of an alley, and smoking became the best way for him to relieve his emotions; About Maggie Cheung * * * writing a martial arts novel, the office is full of leisure, and the "blue" smoke is exactly the same as the gray-blue tone in Maggie Cheung's subsequent scenes. This kind of melancholy hangs over him and her, externalizing their depressed inner world. The setting of these subjective and objective situations implies that two people in the same situation have a good reason to get together. However, just as the image of "smoke" is hidden, everything will dissipate. "That era has passed, and everything belonging to that era does not exist." Just because they don't want to trample on the pure land in their souls, they would rather give up the possibility of happiness in the future and leave their feelings for the innocent and beautiful old days in their spare time to the years to prosper and remember. Love and civilization are only one step away. The prop "Zhong" appeared in the film for countless times, or lived in a corner of the picture, or became a close-up of the picture. Time is drifting away, and the years are getting older. He and she stick to the persistent "we won't be like them" and become an unbreakable landscape. Even if the emotion is beautiful, it will languish with the colorful years. Third, the dislocation of time and space: between trade-offs and gains and losses, Wong Kar-wai's aesthetic pursuit of art is almost persistent, and this film is even worse. Every time Maggie Cheung, an actor from Su Lizhen, goes abroad, the elegance and unconventional style of cheongsam are full of nostalgia. Coupled with low-key, life-like music, and the timely intervention of Zhou Xuan's "In the Mood for Love" songs, it undoubtedly enriched the old feelings. Highlighting the theme of "nostalgia" actually means the final choice between the hero and heroine: nostalgia means memory, and memory means loss. The director skillfully used some lens language, which directly or indirectly implied the displacement of time and space, and laid the possible situation of gain and loss replacement. 1. Choosing a scenario The "simulated scenario" mentioned above is actually choosing a scenario. For example. In a scene where Tony Leung Chiu Wai is about to leave Hong Kong for Singapore to bid farewell to Maggie Cheung, the director uses a situational choice: one is that two people hold hands gently, and Maggie Cheung leans against the wall to let Tony Leung Chiu Wai leave quietly; One is two people holding hands gently, Maggie Cheung shaking hands, leaning on Tony Leung Chiu Wai's shoulder, crying. This kind of experiment is not like the narrative result of German Tom Tick's Lola Run: the same story, different development leads to different endings. Wong Kar-wai's choice situation is that after the choice, the situation is suspended and then merged into one, and there is only one final result-Tony Leung Chiu Wai shows perseverance in the quasi-situation and finally insists on leaving. In fact, the result is not the key point in choosing the situation. The key point is that the process of choice made Maggie Cheung reveal his true feelings, which not only made Tony Leung Chiu Wai understand clearly, but also made the audience well aware, further rendering the tragic effect of the ending. 2. Slow-motion and stop-motion movies use slow motion to extend the emotional space of the hero and heroine many times, mobilize the audience's fantasy thinking, and imagine the love future that the two may have, thus forming a strong contrast with reality. The call of "freeze-frame" language not only strengthens the impact of video, but also intensifies the meaning orientation of the film. Before leaving Hong Kong, Tony Leung Chiu Wai gently told Maggie Cheung, "If there are any extra tickets, will you go with me?" After a hopeless wait, Tony Leung Chiu Wai walked out of 2046 and was instantly "frozen" at the end of the long corridor. Before that, when Maggie Cheung came to 2046 and left because of Tony Leung Chiu Wai's illness, he was stopped at the same place. It is no accident that the director put the lens language of "freeze-frame" in the same place to emphasize the final result caused by the dislocation of time and space. Even if a person turns his head slightly, a miracle will happen and the ending will be rewritten. However, they both chose the pain of struggling between staying and going, taking and giving up. If there is no dislocation in the time and space of their fate, how can they appreciate the pain and sadness, and how can they appreciate the painstaking efforts of director Wong Kar-wai? Choice itself means a kind of pain, and what kind of courage it is to go against your will in order to stick to the comfort of your soul! Finally, he lived with her, but there was no more sadness or joy. And once the door of the heart full of emotions will be opened on windy days and nights, will the emotions gradually diffuse? A few years later, Tony Leung Chiu Wai still couldn't let go of the old love, but he just kept the "secret" secret, and Maggie Cheung once again went back to the window of the house where he had rented, still tearing you down for the old love. After all, "there are tears to shed, and there is no sadness", to borrow a kind word from Mr. Bing Xin. Besides, who can say that love must be together, and separation is not the best ending!