Cast (in credits order)
 | Maggie Cheung | Su Li-zhen - Mrs. Chan | |
 | Tony Chiu-Wai Leung | Chow Mo-wan (as Tony Chiu Wai Leung) | |
 | Siu Ping-Lam | Ah Ping (as Ping-Lam Siu) | |
 | Tung Cho 'Joe' Cheung | Man living in Mr. Koo's apartment (as Tung Joe Cheung) | |
 | Rebecca Pan | Mrs. Suen | |
 | Kelly Lai Chen | Mr. Ho (as Lai Chen) | |
 | Man-Lei Chan | Mr. Koo | |
| Kam-Wah Koo | ||
 | Szu-Ying Chien | Amah (as Tsi-Ang Chin) | |
 | Paulyn Sun | Mrs. Chow (voice) (as Jia-Jun Sun) | |
 | Roy Cheung | Mr. Chan (voice) | |
| Rest of cast listed alphabetically: | |||
| Po-chun Chow | ||
| Hsien Yu | ||
| Julien Carbon | French tourist (uncredited) | |
| Laurent Courtiaud | French reporter (uncredited) | |
 | Charles de Gaulle | Self (1966 visit to Cambodia) (archive footage) (uncredited) | |
In the Mood for Love Movie Trailer
IN THE MOOD FOR LOVE Movie | Official Trailer | 20th Anniversary Restoration
In the Mood for Love Movie Description
In In the Mood for Love Movie I think New York Times film critic Elvis Mitchell wrote the best one-line review of In the Mood for Love Film when he said it was "dizzying with the romantic feeling that has disappeared from cinema forever."
How true are those words! Truly romantic films are rare these days, while films that involve copious sex and nudity (which are often portrayed in vulgar and unnecessary ways) are.
So, given this cinematic atmosphere, Wong Kar-wai's latest film feels like a much-needed breath of fresh air. In the Mood for Love Movie is about the doomed romance between two neighbors ("Mr. Chow," played by Tony Leung and "Mrs. Chan," played by Maggie Cheung), whose spouses have an illicit relationship, as they try to "Don't be like them."
But after spending lonely nights with each other (while her husband is "on business"/"taking care of a sick mother"), they fall madly in love, and they must resist the temptation to go far away. needed.
Several factors are responsible for making In the Mood for Love Movie a new classic among "romantic melodramas", in the truest sense of that word. Firstly, the specific period of the film (i.e. 1960s Hong Kong) is recreated in astonishing detail.
The clothes (including Maggie Cheung's cute clothes), the music (such as Nat King Cole), and the overall atmosphere of In the Mood for Love Full Movie evoke nostalgia for that specific period.
Second, Christopher Doyle's award-winning, breathtakingly beautiful cinematography creates an atmosphere that not only surrounds its two main characters, but also seems to be imbued with romantic longing in each and every luxurious, meticulously composed frame.
Make no mistake about it: In the Mood for Love Movie was 2001's most gorgeous movie. (It should also be mentioned that Wong Kar-wai's usual hyper-kinetic visual style is (understandably) subdued for In the Mood for Love Film, though his palette remains just as colorful.) Third, the haunting score by Michael Galasso.
which is accompanied by slow motion scenes, e.g. Chan walking in his elegant robes, Chan and Chow "looking" at each other as they pass each other on the stairs, and other beautiful scenes that imprint themselves in one's memory.
The main score – which makes its instruments sound as if they are literally crying – is heard eight times at various points in the film and serves to highlight the sadness and longing that the two main characters feel.
Fourth, Tony Leung and Maggie Cheung both give wonderful performances (Leung won Best Actor at Cannes) and they manage to generate genuine chemistry on screen.
The above elements work so well together and work together to create a film that feels timeless, "dizzyingly romantic" and, in a word, magical.
The Mood for Love, perhaps more than any other film of 2001, reminded me why it is that I love "going to the movies." And I think that's the biggest compliment I can give to a film.
I will not bore you with the story and plot line, as they have been presented many times before on this page, so it has been a long time since I have seen such a movie. Beautiful, elegant and restrained, with a narrative pace to match.
A film with sensitivity and understated qualities that is rare in these times of clichéd storylines. Beautifully subdued photography, saturated in rich brilliant colors, and for lack of better words, each frame is filled with an air of tension.
The settings and locations are used over and over again, but each time they're featured, the film manages to breathe new life into them, always giving the audience a little clue about an important prop, lighting fixture, or set piece. Guess where we are in the characters world.
The acting reminds me of "Bicycle Thief", not the style, but the fact that you forget you're watching two actors engaged in their craft.
There is meaning behind every gesture and almost every movement has given significance to explain the inner world of the characters, relationship, feelings and situation of the two lovers.
The dialogues are few but packed with meaning like the rest of the film. Talking of meaning, the soundtrack is infectious.
When used here, it becomes a storytelling device. And although the film is of Chinese origin, even a song sung in Spanish by Nat King Cole lends subtle meaning to the film.
The orchestrated soundtrack is repetitive, but the repetition is what makes it seamless. It is used in conjunction with the story, not just to set the music to action, or to cue the audience to feel a certain way at a certain plot point.
I would not recommend In the Mood for Love Movie to anyone, I am afraid most people will get tired of the quiet flow of the story, but I would recommend it to anyone who is looking for an alternative to the romantic schlock that fills the multiplexes on our side Is. World.
It's easy to see why many consider In the Mood for Love Film to be Wong Kar-wai's best film.
The film's toned down appeal, focused on a relationship study approach put through an emotional ringer, is a return to Happy Together territory, but without the hyper-kinetic patchwork of jarring film stock and hyper-saturated sequences that make a Kar-wai's films since Chungking Express have become trademarks.
Like Soderbergh's The Limey, it's a curio of a different kind for Kar-Y; Where dialogue and plot are let loose by mood and composition to create a tale of two fragile lives in seeming emotional stagnation.
It's a testament to Kar-wai's talent that she's been able to make such a simple story resonate so much.
Chow Mo-wan (Tony Leung) and Su Li-jen (Maggie Cheung) live next door to each other within the same apartment building. He is a journalist who dreams of publishing martial-arts novels and she is a secretary in a shipping company.
Their final combination is clear from the start, but the joy here is that Kar-Ya manages to implicitly portray such a journey with his grand masterstroke.
Key to the film's success is Car-Y's use of interior space, playing with foreground and background planes that are similar to those of Polanski's works.
During the film's seductively sensual first half, Kar-wai separates Leung and Cheung within shots in such a way that the other person is never seen in the conversation. Kar-wai is concerned with the environment and the place, which creates a tight emotional dynamic between his characters.
It is also telling that Kar-wai never wants to pay attention to the physical appearance of Mo-wan and Li-jen's spouses. Their faceless partners are noticeably missing from the film, as they carry on with their love affairs with each other.
This is not to suggest that In the Mood for Love Film is a limited experience as Kar-wai manages to fill his film with hypnotic camera movement and sweeping splashes of sound.
There is a shot where Cheung's slow, sensual rise up a metaphorical staircase turns into Leung's descent down the same staircase; Their movements compliment each other perfectly, booking the shot and creating a sense of sensual duel between the two figures.
Their spirits have joined but they are yet to join physically. The erotic displacement of these scenes is both fascinating and frustrating, as two star-crossed lovers reject physical consumption in the face of their submissive loyalty.
Other scenes in the film are punctuated with brief slow-motion shots of Cheung, set to Mike Galasso's hauntingly beautiful score, walking through her inner surroundings.
Cheung's clothing beautifully compliments her outdoor space as she walks softly in her surroundings.
His actions gradually lead to what appears to be an inevitable fusion between Li-Zhen and the lover of her dreams, even though the seduction process seems entirely sub-conscious.
If it seems to me that these two characters are like two birds spraying pheromones at each other, that's probably not a far cry from the statement. The tight bond these two characters have with their inner spaces is almost as intense as their relationship with the outsiders.
The film rarely pans into outer space and when the camera does it is usually through oval windows and symbolic bars that always remind us that these characters are like confined animals.
The kar-wai continues to tease us even when the lovers come close enough to touch, giving away the couple's closeness to each other through mirrors or through the gaps of articles of clothing located inside a closet. Huh.
Mother Nature also seems to respond to their love lust, often leaving a gentle crest of rain on the characters as their bodies glide past each other.
Kar-wai's eerie atmospheric scenes of a waterfall allowed Leung's Lai Yu-fai to experience a cathartic release in Happy Together, even if Leslie Cheung's Ho Po-wing was not there to enjoy it with her.
By the end of that film, love was so intricately tied to the act of war that a third person's silent declarations of love signaled Yu-fai's realization that her dreams of seeing a waterfall would bring her inner peace, Even if he doesn't bring her back. Lover. Mo-wan's journey ends in the confines of a crumbling temple.
His own emotional lapses mesh well with the political climate of his country, and Li-shen's absence is made bearable only by the fact that Kar-wai Mo-wan experiences a kind of release. allows to do.
Mo-wan fulfills an ancient myth and his secret release in a crevice in the temple enables him to live out his days with the hope that all his loss and heartache somehow served a higher purpose.