In the Mood for Love

They run into each other in a familiar spot, under an awning, near the stairwell that descends to the dumping shop. It’s pouring. They discuss the weather, say a few words about nothing. Mr. Chan asks her to wait, saying he’ll be right back. He returns with a

That discussion with the landlady hit Mrs. Chow hard. When Mr. Chan called her to ask when she could meet again to work on the stories — that the editor is getting antsy for new copy — she told him that the landlady gave her a lecture and that she wouldn’t

I’ve noticed that I am writing about increasingly smaller chunks of this movie at a time. “In The Mood for Love” is constructed like a Chinese meal, with tiny bites of film designed to be picked up with chop sticks. We get another musical interlude. Our protagonists are collaborating

I’ve written previously about how “In the Mood for Love” seduces the audience first, building a romantic atmosphere, while director Wong Kar-Wai’s dual protagonists are having their hearts broken. The process of making this film was difficult. A financial crisis hit Asian economies while “In the Mood for

The last section set up a new route for Mrs. Chan and Mr. Chow to come together, and we are greeted with the familiar musical theme once more and the famous slow motion photography. Except this time, we are not witnessing shots of people descending for noodles and making glances

Wong seduces his audience into feeling the love story well before it begins. He has said that “In the Mood for Love” isn’t really a love story, it’s a story about gossip and the social structure of Hong Kong in the early 60s. What he accomplishes in the