4/15/09

Kar-Wai's "In The Mood for Love"


I can hardly think of any Far-Eastern movie maker obsessed with the 60's and the Western (European/American) music of that period like Kar-Wai. His unrealistic stylish camera work and perfect staging capture those days as dream-like moments. In The Mood For Love (2000) centers a trilogy that started with Days of Being Wild (1991) and ended by the troubled 2046 (2004).
Kar-Wai is a good story teller, he doesn't claim any depth more than that. Though from Hong Kong, his movies are famous in the States and Europe: First, they are beautiful to watch; Second: they're love stories, troubled youth...etc, Third: beautiful musical scores. As expected, When Kar-Wai escaped narrative linearity in his 2046, his popularity dropped, yet his style and his movie making remained distinguished. His use of musical motifs is essential, you'll know a character is going to be in frame when his/her specific motif plays... interestingly, the music also play when he/she is "expected" to be there... or just "missed" by somebody.
His camera is mostly static in-doors, mid-low angle (hence mostly framing people's wastes and trunks), outdoors he take more liberty and uses distant tracking shots and open spaces, he likes framing (doors, windows, angles, corners....)

Kar-Wai is famous for purposley re-casting his leads in very similar roles and situations, creating a feel of circularity, continuation... 2046 continues the story of In The Mood For Love, but also intersects loosely with many of his previous leads and movies.

I personally LIKE this trilogy (especially the last two), and whenever I feel like watching and listening to something beautiful, and witnessing nostalgia... I play it... no more than once a year or so, the Criterion double-DVD (for In The Mood for Love) box isn't bad at all.

He is interesting to know his work, he is the least chinese director I saw so far since he moved to Hong-Kong when he was only 5 (as compared to Zhang's Raise The Red Lantern for example)

that's the US trailer
the famous recurrent Yumeji's theme (for the female protagonist), and another collection of themes from the movie.

Wassim