In the mood for love
| Movie | |||
|---|---|---|---|
| German title | In the mood for love | ||
| Original title |
花樣 年華 Faa 1 jeong 6 Nin 4 waa 4 |
||
| Country of production | Hong Kong , France , Thailand | ||
| original language | Cantonese | ||
| Publishing year | 2000 | ||
| length | 98 minutes | ||
| Age rating | FSK 6 | ||
| Rod | |||
| Director | Wong Kar-Wai | ||
| script | Wong Kar-Wai | ||
| production | Wong Kar-Wai | ||
| music |
Michael Galasso Shigeru Umebayashi |
||
| camera |
Christopher Doyle Pin Bing Lee |
||
| cut | William Chang | ||
| occupation | |||
| |||
| chronology | |||
| |||
In the Mood for Love (Original title: Chinese 花樣 年華 / 花样 年华 , Pinyin Huāyàng Niánhuá , Jyutping Faa 1 jeong 6 Nin 4 waa 4 , Cantonese Fa yeung nin wa - "literally the flowery days; about the beautiful time"; German subtitles : the sound of love is) a film by Wong Kar-Wai from the year 2000 , set in Hong Kong.
action
Hong Kong, 1962: Chow Mo-wan, editor-in-chief of a local newspaper, and his wife move into a room in a house in the Shanghai community. He meets Chan Li-zhen, who on the same day moves into a room with her husband in the neighboring apartment of the same house that Ms. Suen is renting. Li-zen's husband, Mr. Chan, is mostly on business trips; Ms. Chow works in shifts in a hotel. Both couples therefore live in a situation in which they can rarely see each other. Alienation takes place, arguments and neglect are hinted at.
In the course of a favor - Mr Chan procures a modern pressure cooker for Ms. Chow from Japan - these two come into closer contact. Li-zhen and Mo-wan soon sense that their two partners are having an affair. Apparently, Mr. Chan took Chow's wife to Japan. The two remaining spouses Li-zhen and Mo-wan also develop sympathy for each other and spend more and more time together to escape the sadness and loneliness. The relationship between the two remains tender and shy and is constantly overshadowed by Li-zhen's desire for her husband to return as well as by the bondage to custom and morality. Therefore, although Mo-wan and Li-zhen fall in love, they do not dare to take the final step. Chow tries to find a way out by starting to write " kung fu stories," a subject Li-zhen is also interested in. The common, factual work in Chow's room actually brings both of them closer together, but is burdened by the necessary secrecy in the close house community monitored by Ms. Suen. So Chow rents a hotel room (no. 2046), ostensibly to be able to write undisturbed, but with the barely veiled intention of creating new space for love. After a few attempts, Li-zhen actually comes to this room, but later the viewer learns that "nothing has ever happened" - it remains with embarrassment and melancholy. The climax of the shy relationship remains that the two have been on the duo since then (German film version).
Both now realize that their love can have no future. In role-playing games, Mo-wan prepares Li-zhen for the resumption of their marriage. Finally, Li-zhen's husband returns. Depressed, Chow travels to Singapore to work for the newspaper's office there. Li-zhen tries another outbreak to test her feelings: She travels after Chow and waits in his room while he is at work, without knowing that Li-zhen is visiting. She leaves before Chow returns.
At the end, you see Mr. Chow, who is traveling alone to Cambodia and burying his love during a visit to the Angkor Wat temple complex : He whispers something - probably his never-before-ever confession of love - into a hole in a wall and clogs it tightly with earth and grass.
One end after the end shows a mirror image of the main story and takes place in 1965, when Li-zhen, her husband and son rent the old house again while Ms. Suen moves out. In a nostalgic mood, Mr. Chow also visits his former home, not knowing that Li-zhen is back. He leaves again without meeting her.
backgrounds
Filming was moved from Beijing to Macau because of problems with the Chinese authorities. These insisted on submitting a script, which Wong Kar-Wai rarely uses, however, as he prefers to improvise with the actors. For him this creates a story and the mood of the film. Some of the outdoor shots took place in Bangkok , as Wong Kar-Wai wanted to capture the atmosphere of the 1960s that he could no longer find in modern Hong Kong.
Originally, the movie was supposed to take place mainly in the hotel room numbered 2046, where Chow and Li-zhen meet regularly. Wong's way of working (no detailed script, improvised scenes, actual production of the film when editing) led to a slightly different result. The subsequent film, which is a loose sequel to In the Mood for Love , then received the title 2046 . It describes Chow's stay in Singapore and his return to Hong Kong as a writer. The statement in this film that the number 2046 has a special meaning for Chow is to be understood as a reference to In the Mood for Love .
The filming alone lasted 15 months and about a week before the debut in Cannes , Wong Kar-Wai was still working on the film, especially the editing. In the end, Kar-Wai did not use an originally recorded sex scene between Chan and Mo-wan.
music
Wong Kar-Wai worked with the Japanese composer Shigeru Umebayashi , whose Yumeji's theme runs like a red thread through the film. The film also uses contemporary Chinese folklore and music from Hong Kong in the 1960s. In addition, three songs by Nat King Cole - Te Quiero Dijiste , Aquellos Ojos Verdes and Quizás, quizás, quizás - can be heard. The text of the latter can be seen at the beginning of the sequel in 2046 .
Wong Kar-Wai found the title for the film when he heard Bryan Ferry's song "I'm in the mood for love," a cover version of a song from the 1930s. This was then also used in the cinema trailers.
dramaturgy
“In seventy-five self-contained, partly fragmentary scenic situations, this story is told chronologically from beginning to end in its essential pivotal points. This results in smaller or larger sections that are separated from one another by clearly fading out. These caesuras do not represent a recognizable system of temporal order, but rather group the situations thematically. Within the sections, the settings are sometimes linked with time jumps, also non-chronologically. Connections of actions that the viewer believes to recognize often turn out to be irrelevant or even wrongly concluded. Conflicting acts or even a revelation of mutual infidelity do not take place. [...] Almost all processes important for the development of the fable take place 'behind the stage', invisible to the audience. [...] The whole narrative of the film corresponds to the [...] principle: 'Many things begin without you noticing'. "
Trivia
- Maggie Cheung wears a different dress ( qipao ) in almost every scene - ten different in the first ten minutes of the film alone - while her film partner always appears in the same, more or less dark suit. A total of 46 different qipaos were worn by Chan in the production, but not all of them can be seen in the final version of the film.
reception
"[...] A fascinating, dramaturgically and camera-aesthetically perfect film that mourns the impossibility of returning to personal and collective memories of the early 1960s and paints a highly differentiated picture of mental sensitivities."
“[…] You get a real physical feeling in the cinema seat for what it means to live in a tenement building somewhere in Hong Kong, to be a single person in a crowd of millions who interests no one, more restlessly than quickly cut. [...] In a certain sense, "nothing" happens between the two of them, not even a shy kiss is exchanged because she refuses to urge him in the decisive moments. The hands only touch once, leaving the possibility open that we may not have seen everything after all. [...] This is how Wong Kar-wai tells the classic film story of the couple who miss each other, out of pride and fear, and with it the vague chance of not only being satisfied but happy in life. […] In the Mood for Love drowns in beauty and melancholy, the mutual interplay of these two elements. [...] A very wonderful film about smiling, loneliness and happiness, which shows that love is also possible at a distance and has nothing, absolutely nothing, to do with what is shown in most films . A film about the passing of time, about longing and also about farewells [...] "
“[…] But what the roommates never find out either is hinted at by decorative details, symbolic actions and subtle changes in repeated everyday situations: Your spouse is having an affair. The way Kar-wai orbits this alienation and rapprochement is a triumph of cinematographic storytelling that even its critics fall silent. [...] Both of them accept the deception with a silent pain that culminates in a bizarre role play in which they confront their unfaithful partners. […] On the other hand, on the sorrowful faces of Su and Chow, the camera lingers with a poetic patience, as if looking at a painting. […] Instead of a hectic hand-held camera and a trendy look, he now shows this as if in a silent film colored in rich colors. The narrative pace of his picture story is adapted to the timidity with which Su and Chow approach each other full of sadness, longing and doubt, while clocks tick everywhere like a metaphor for their standstill. With a hypnotic will to style, Wong Kar-wai has condensed the motto 'Don't tell it show it' into a requiem about the impossibility of desperate love. "
"[...] The whole thing is very lengthy, laconic and without action, but precisely for this reason it shows an enormous sense of detailed sentimentality. The film, composed down to the smallest detail [...] is a solemn, highly visual and musical ballet about the confusion of feelings [...] "
“[...] The fact that the film [...] consists of ten hours of prophylactically shot material that was first brought into shape on the editing table cannot be seen in the slightest from it. […] In The Mood For Love is as precise and fine-tuned as seldom a film: no movement, no take too many. Everything seems absolutely imperative - for example, that the spouses of the unhappy lovers are never to be seen. […] The absence of love, that is what In The Mood For Love tells about imperceptibly, painfully at first. [...] As if he were trying to remember the characters behind glass, says an unidentified quote at the end of the film and it seems to refer to the director himself, who, in indulgent grief, tries to paint a picture of paradise and yet again and again only can watch how it breaks [...] "
"[...] What is the point of constantly fading in the thermos flasks? Why always the clock, with different times? Why the extended scenes in Su's office, the meaning of which remains completely closed? Or further: What did Charles de Gaulle do in Cambodia in 1966? Why does the film end with footage of Angkor Wat? [...] 'In the Mood for Love' is bursting with scenes that have to be deciphered by the viewer. [...] 'In the Mood for Love' surprises with pictures that are cut together quite abruptly, the meaning of which only becomes apparent afterwards and only very slowly. [...] but towards the end the film becomes more and more opaque. [...] The fact that the spouses of the neighbors Su and Chow are starting a relationship is less typical and also seems very constructed in the context of the film [...]. [...] Very minimalist, with little verbal endowment, Wong Kar-Wai drives the development of the fine relationship: Here a word, there a look, here a gesture: You understand each other without saying it. [...] It's not about an affair, not revenge, not about sexuality, but much more about being understood in an overly streamlined, superficial everyday world. [...] The last third of 'In the Mood for Love' deals with what-if-questions. [...] The promise of love is always valid, always waiting to be fulfilled, and yet it must remain a constant secret [...]. [...] In their thoughts the lovers always have the distant longing for that love, years later they return to the significant places: But although the promise lasts forever, the special spirit of love has meanwhile disappeared, gone, passed. [...] One arrives at a diffuse feeling, a hypnotizing feeling, and one never arrives at certainty, at finality. [...] Scenes of such slowness that one might believe in slow motion - but the rain falls around them like normal. The whole film is bathed in shades between red and ocher, which takes the visual heaviness to extremes. And the music also repeats the same theme forever [...]. […] On the other hand, the consistency with which Wong staged the film throughout is impressive. You can argue about the extent to which a film makes sense that doesn't care about its audience, but on the other hand there's something refreshing about it. And one could speculate whether the message of the film should not have been conveyed more succinctly, concisely, more concentrated, more effectively [...] "
In 2016, In the Mood for Love came in second in a BBC poll of the 100 most important films of the 21st century .
Awards
- Best Male Actor, Cannes Film Festival 2000 (Tony Leung Chiu Wai)
- Best Cinematography (Technical Grand Prize), Cannes Film Festival 2000 (Christopher Doyle, Pin Bing Lee, William Chang)
- Screen International Award, European Film Prize 2000
- Best international film, German Film Award 2001
- Best international film (Meilleur film étranger), César 2001
- At the 2001 Hong Kong Film Awards , the film won awards in five categories: Best Actor, Best Actress, Best Art Direction, Best Costume and Makeup Design, and Best Editing. He was also nominated for 7 other awards: Best Film, Best Director, Best Screenplay, Best Cinematography, Best Original Score (Michael Galasso), Best Supporting Actress (Dick-Wah Poon) and Best New Performer (Ping Lam Siu).
- At the Asia-Pacific Film Festival in 2000, Christopher Doyle and Pin Bing Lee won the award for best camera and William Chang the award for best editing.
- In the Mood for Love has received awards and nominations at many other awards ceremonies. For example, the film was nominated for the BAFTA Film Award for Best Non-English Language Film.
- Chlotrudis Awards 2002: 6 nominations; Winner in the categories: Best Film and Best Camera
- # 2 of the 100 best films of the 21st century ( BBC international critics survey of 2016)
Web links
- In the Mood for Love in theInternet Movie Database(English)
- In the Mood for Love atRotten Tomatoes(English)
- In the Mood for Love (2000) at Hong Kong Movie Database (Chinese, English)
- wkw-inthemoodforlove.com Website of the film production
- Is it a comedy Is it a tragedy An interview with Wong Kar-Wai about In the Mood for Love
Individual evidence
- ↑ Wacky! , Episode 205 of January 29, 2017. Min. 06: 57-07: 05
- ^ Rabenalt, Peter: Film dramaturgy. Berlin / Cologne 2011, pages 140–141
- ↑ Wacky! , Episode 205 of January 29, 2017. Min. 04: 07-06: 02
- ↑ In the Mood for Love. In: Lexicon of International Films . Film service , accessed April 26, 2015 .
- ↑ The smile, the loneliness and the happiness Rüdiger Suchsland on artechock.de ; Retrieved April 26, 2015
- ^ "In The Mood For Love": The magic of poetic patience Oliver Hüttmann on Spiegel.de ; Retrieved April 26, 2015
- ↑ In the Mood for Love film summary on prisma.de ; Retrieved April 26, 2015
- ↑ A tragic love story in Hong Kong in the 60s - a poetic stroke of genius by Wong Kar-Wei. Critique of Christoph Huber's film on filmzentrale.com ; Retrieved April 26, 2015
- ↑ Exhausting, difficult, infinitely slow but nonetheless worth seeing story of a relationship. Review of the film by Wolfgang Huang on filmspiegel.de ; Retrieved April 26, 2015