In the first shot, diegetic sound “sounds that are made by a physical source in the story world” (Stadler and McWilliam 70)” of Chinese opera is playing in the background as the camera pans across a wall adorned with black and white photos of a young and pretty lady. The words “Hong Kong, 1962” establishes the story’s location and era as it fades in from the black. The film begins with a short synopsis of the opening sequence describing it as an ‘awkward moment’ for both Chow and Su as they meet for the first time. To escape from this unrequited love, Chow leaves for Singapore to seek a new career. Over time, they begin to develop feelings for each other, but Su’s faithfulness towards her husband stops her from committing to the relationship. They seek answers through re-enactments of what could have happened in the process evoking more pain than reprieve. Chow and Su couldn’t find the courage to confront their spouses on how their affair began.
As the days go by, they find solace in each other through simple meals, and secret meet-ups. Set in the early 1960s Hong Kong, Chow Mo-Wan and Su Lizhen are neighbours whom realise that their spouses are having a love affair.
This will be done by analysing the opening sequence in detail, followed by an analysis on each component of the stylistic system. In this essay, I will argue that the theme of desolation intertwined with a bittersweet tale of unrequited love has been effectively expressed through the use of the four elements of the film stylistic system (misc en scene, cinematography, sound, editing). It is a story of extraordinary love obstructed by faith, and societal views. In the Mood for Love is a film by Wong Kar Wai that was released in 2000.
0 kommentar(er)
