Ask to introduce the film "In the Mood for Love"

Focus: Poetry and Contradiction

Wong Kar-wai's films are very postmodern, but rooted in tradition, and seek innovation and deconstruction on this basis. Let me briefly talk about In the Mood for Love (2000).

From tradition and poetics. First of all, the narrative rhythm of the film is very similar to the Book of Songs, such as "repetition", several encounters with the cloud and three identity exchanges. The repetition of the theme song is a bit like the rhyme of the poem; "Progress", every time we meet, our feelings are progressing, from strangeness to mutual pity to heartbeat.

Secondly, more than 20 sets of exquisite and secret cheongsam contain Su Lizhen's psychological variation from depression to emotion, from enthusiasm to restraint. Third, the crowning touch of traditional operas, such as the Beijing opera "Shiro Visiting Mother", not only assists the narrative, but also sets off the theme. Finally, artistic conception of poetry and painting. The love of Suzhou and Zhou, who wanted to say goodbye, left the audience with unlimited imagination, and the absence of Teacher Chen and Mrs. Zhou also reflected this artistic conception.

Post modernism. In the past, Wong Kar-wai's films, such as "Chongqing Forest" and "Tears Like Rain", mainly followed the trend of sports and paraded through the city; In this film, he used a long translation lens, and the frame of the middle scene was mainly taken. For example, when writing a novel in a hotel, the camera moves slowly between the clouds, and the mirror is an objective perspective that reflects reality. Under the seemingly stable lens, there are two fiery hearts.

Secondly, the fragmented and inverted narrative style creates a mirror image expression with philosophical charm. At first glance, the two exchanged identities. I thought something had happened to them, but looking closely at their expressions, I can't help but admire the director's delicate observation of human nature. How can two people who don't want to cross the line understand traitors, so the upside-down plot is to blur the boundary between true and false. Their parody may be futile, but it is also a vent.

Technological innovation-reversal. In the film, Wong Kar-wai especially thanks the screenwriter Liu Yichang's novels "Righting the Knife" and "Drunk" for giving him inspiration, and the biggest highlight of this film is the "Righting the Knife" that can be seen everywhere. For example, the characters, the contradiction between two couples, and the contradiction between traitors and persecutors. For example, in the plot, go upstairs to buy food and go home, and the cloud goes downstairs to sit at the food stall to eat; Su Lizhen helped Mr. He block his wife's inspection, and also helped Mr. He block his lover's reconnaissance. For example, clothes, our cheongsam is traditional and dignified, and Mrs. Zhou's dress is western-style

For example, Heyun sticks to tradition, while Mrs. Chen and Zhou are anti-traditional. For example, lines are inverted in form and pun in meaning. In Su Lizhen's "We are not like them", we used the opposite words to show women's sadness and self-esteem. Zhou Mu Yun "If I had an extra ticket, would you go with me?" Su Lizhen only changed the word "take me away", and it was the other way around, suggesting that they were moved, but they couldn't walk into each other's hearts (no need to ask). Therefore, the question and answer is not important, but the ultimate expression of the director is more important, that is, the relationship between people, through the contrast of one positive and one negative (inverted), expressing a self-evident meaning.