The 25 Best Movies of the Century: No. 7 - 'In The Mood for Love’

Key Takeaways

"In the Mood for Love" is featured as the seventh film on "The Big Picture's" list of the 25 best 21st-century movies.
The 2001 film is recognized for its unique visual style, minimal dialogue, and profound emotional depth.
It has significantly influenced filmmakers, advertising, and fashion through its aesthetic and distinctive use of color.
The central themes of unconsummated love and longing, set in 1962 Hong Kong, resonate deeply.
Its meticulous production, characterized by improvisation and William Chang Sook Ping's multi-role contributions, shaped its unique mood.

Sean Fennessey and Amanda Dobbins introduce "In the Mood for Love" as the seventh film on their "25 for 25" list of 21st-century movies, noting its minimal dialogue and expressive unspoken emotions.
Released in 2001, the film elevated director Wong Kar-wai's signature style, characterized by deliberate composition and framing, often utilizing doorways and hallways.
It is identified as one of the most influential films made, impacting filmmakers like Sophia Coppola and Barry Jenkins, as well as influencing advertising and fashion with its aesthetic and striking use of color.
Amanda Dobbins described the film as a "color study" that evokes physical feeling, comparing it to fine art.

The film, set in 1962 Hong Kong, focuses on two married individuals who move into the same apartment complex and discover their spouses are having an affair.
'In the Mood for Love' is identified as a great romantic film of the 21st century, its theme of unconsummated love creating a resonant sense of longing particularly relevant in contemporary screen-driven culture.
The hosts discuss the film's unique portrayal of repressed emotions, highlighting the 'perversion' and 'kink' in the characters' role-playing and conversations about their spouses' affair.
Tony Leung's character processes his feelings by writing a serial, showcasing the film's exploration of internal emotional struggles.

The film explores themes of loneliness and unfulfilled desire, contrasting aspirations of high society with the reality of cramped living conditions in 1960s Hong Kong.
Material possessions, such as gifts from traveling husbands, represent an idealized external world that remains inaccessible to the characters.
These themes mirror those found in mid-century American fiction and television shows like 'Mad Men', highlighting universal aspects of human longing.

The film's production process was unusual, characterized by improvisation and extended shooting periods, despite director Wong Kar-wai having worked with lead actors Tony Leung and Maggie Cheung multiple times.
Wong Kar-wai's filmmaking methodology involved a meticulous, almost painterly approach to capturing specific gestures and moments, comparable to Paul Thomas Anderson's iterative scene-shooting process.
William Chang Sook Ping is recognized as a crucial, often overlooked, contributor, serving as editor, production designer, and costume designer, significantly shaping the film's distinctive tone and mood.
The film's 98-minute runtime feels deliberate, allowing viewers to immerse themselves in the characters' unfulfilled desires and the film's emotional epic scale.

The hosts discuss the performances of lead actors Tony Leung and Maggie Cheung, noting their ability to convey emotion through stillness as a challenging aspect of their roles.
Cheung's extended absence from filmmaking is discussed, drawing comparisons between their careers and Michelle Yeoh's recent Hollywood success.
The reissuance of Wong Kar-wai's filmography in 4K is mentioned, with 'In the Mood for Love' highlighted as a worthy purchase for enthusiasts of the format.

The film concludes with a bold, wide-open, daytime ending at Angkor Wat, contrasting sharply with its typical darkened, rainy, and visually obstructed sequences that symbolize the characters' distance.
The meaning of Tony Leung's character whispering a secret into a tree at the end is debated, with hosts exploring interpretations ranging from unrequited love to personal failure or a lost memory.
The film notably avoids explicit psychologization, leaving the interpretation of the ending open to viewers.

"In the Mood for Love" was confirmed as an easy, "no-brainer" inclusion on the "25 best films of the 21st century" list, even alongside "Lost in Translation."
The film's critical reception includes Tony Leung's Best Actor award at Cannes and an 87 Metacritic score, contrasting with Roger Ebert's three-out-of-four-star review.
Discussion extends to Wong Kar-wai's broader filmography, including favorites like 'Chungking Express' and 'Happy Together', the latter potentially influencing Barry Jenkins.
The timely release of Wong Kar-wai's new television series, 'Blossoms Shanghai', on the Criterion Channel is also noted.

The hosts mention several films influenced by or comparable to "In the Mood for Love," including "Past Lives," "Call Me By Your Name," "Portrait of a Lady on Fire," "Moonlight," "Far From Heaven," and "Carol."
Comparisons are also drawn to David Lean's 'Brief Encounter' for its depiction of discontinued love, and 'The Bridges of Madison County' as another notable romance film.
The discussion highlights a shared interest in exploring 90s romance films, with one host setting a high bar for enjoyment in the genre.