Following a recent viewing of Satyajit Ray’s ‘Pather Panchali,’ the author revisited Wong Kar-wai’s ‘In The Mood For Love,’ released 25 years ago, to reassess its enduring quality. The film remains a cinematic triumph, resonating with the same perfection it did upon its initial release. Its intense, subdued atmosphere and poignant exploration of transient love are conveyed through vibrant, saturated colors, evoking both joy and sorrow.
The story centers on Chow Mo-wan and Su Li-zhen, who rent adjacent apartments and find themselves lonely. Their connection deepens, hinting at an inevitable romantic entanglement. The director’s use of color is striking, highlighting the contrast between the characters’ inner lives and the vibrant backdrop of their surroundings. Su Li-zhen’s daily routine, including her evening dinner outings, is observed by gossiping neighbors, adding a layer of intrigue.
A key aspect of the film is the portrayal of peripheral characters as disembodied voices, heard through open doors, while the camera focuses on the protagonists. This technique underscores the couple’s isolation and the world’s detachment from their unfolding relationship. Their bond evolves from mutual comfort to something far more profound and precarious, unfolding like a subdued symphony, known only to those involved. The film’s emphasis on silence, a characteristic rarely seen in other great cinematic romances, is a key element of its power.
The cinematography, credited to multiple individuals, captures the couple through mirror images and rain-soaked silhouettes, suggesting the fleeting nature of their relationship. The most memorable scene depicts Su Li-zhen and Chow Mo-wan rehearsing their eventual separation, the pain of which is intensified by what is left unsaid. The film prompts contemplation about the nature of their love and if we, the audience, even deserve to be spectators of this sublime love story.
