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In the Mood for Love (2001)
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Reviews Counted: 96
Fresh: 84
Rotten:12
Average Rating: 7.6/10
Consensus: This understated romance, featuring good performances by its leads, is both visually beautiful and emotionally moving.
Runtime: 1 hr 38 mins
Genre: Foreign Films
Theatrical Release: Feb 2, 2001 Limited
Synopsis:
Hong Kong 1962, Chow Mo-Wan (Tony Leung Chiu-Wai), a journalist, rents a room from Mr. Koo. He will live there with his wife, a hotel receptionist. It's sheer coincidence that he moves in the same day that Su Lizhen (Maggie Cheung Man-Yuk)...
Hong Kong 1962, Chow Mo-Wan (Tony Leung Chiu-Wai), a journalist, rents a room from Mr. Koo. He will live there with his wife, a hotel receptionist. It's sheer coincidence that he moves in the same day that Su Lizhen (Maggie Cheung Man-Yuk) moves in next door, at Mrs. Suen's place. Lizhen works as a secretary to Mr. Ho (Lai Chin), the boss of a shipping company. It's also a coincidence that both of them are moving in without help from their spouses. Chow's wife is working her shift at the hotel at the time of the move. Lizhen's husband, Mr Chan, is away on a business trip; he works for a Japanese company, and is often abroad. Despite having convivial and neighbourly landlords, Mr. Chow and Mrs. Chan often find themselves alone and lonely in their respective rooms.
Neither of them ever finds out how it began, but Mr. Chow and Mrs. Chan discover that their respective spouses are having an affair. The discovery shocks both of them. Chow, feeling hurt and wishing to understand how the affair happened, begins finding excuses to spend time with Mrs. Chan. They begin rehearsing what they will say to their spouses when they confront them with what they know. Then Mr. Chow invites Mrs. Chan to help him with a martial-arts series that he is writing for the newspaper. Their meetings are discreet, but people begin to notice. There seems no possibility that they, too, will drift into an affair. But Mrs. Chan's emotional reticence begins to haunt Mr. Chow and he finds his feelings changing. It's almost like being in love.
Four years later, as a Singapore-based reporter covering General De Gaulle's visit to Cambodia, Chow Mo-wan finds himself remembering an old story about a way of unburdening yourself of a secret you don't want anyone to know.
Starring: Maggie Cheung, Tony Leung Chiu-Wai, Rebecca Pan, Lai Chen
Starring: Maggie Cheung, Tony Leung Chiu-Wai, Rebecca Pan, Lai Chen, Siu Ping-Lam
Director: Wong Kar-Wai
Director: Wong Kar-Wai
Screenwriter: Wong Kar-Wai
Producer: Wong Kar-Wai
Composer: Michael Galasso
Studio: USA Films
Get This Movie
Release:
Mar 5, 2002
DVD Features:
- Region 1
- Keep Case
- Anamorphic Widescreen - 1.66
- Single Side - Dual Layer
Additional Release Material:
- Alternate Ending
- Deleted Scenes
- Interview - 1. Wong Kar-wai - Director
- Press Confereence
- Traliers - 1. Orignial U.S. Theatrical Trailer
- TV Spots
- Essay
Galleiies/Text:
- Photo Gallery
- Biographies
- Essay on Setting
Interactve Features:
- Interactive Music Essay
Reviews for In the Mood for Love
Agençant parfaitement la simplicité de son récit à la complexité de sa mise en scène, Wong Kar Wai nous livre au final un chef-d'%u0153uvre incontestable en son genre.
As this lovely film moves from allegro to adagio, it never loses its pervasive sense of loneliness.
It rivals the impact...Lost Highway [had for me], and is easily one of the best films I have ever seen.
Violins tactilely pull at your heartstrings and induce memories of all the unrequited love affairs or unhappy memories you ever had.
With his spiky haircut, ever-present shades and a cigarette nestled between his fingers, Wong Kar Wai could be a poster boy for Hong Kong cool.
There is one highly redeeming factor here, and possibly the greatest incentive for the whole project. IT'S THE CLOTHES, MAN.
Cheung and Leung give the most subtle performances of their careers here.
This is a strange film. It has some real positives, but they don't add up to a satisfying experience.
Wong Kar-wai tricks up the schmaltz with a lot of avant-garde filigree. He's that most suspect of hybrids: a pop-schlock aesthete.
If [Edward Hopper's] paintings showed motion, it would be the fluid, slow camera movement of this film
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