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Analysis Of In The Mood For Love

3089 words - 12 pages

Released in 2000, and called the "…love story of the new millennium" (Time Out New York), In the Mood for Love (2000) is one of the best and most underrated foreign film. From its nostalgic depiction of the 1960s to its artistically appealing cinematography, this film has become a staple in the ever evolving, fast-paced film industry. Consequently, after having watched it I was in a daze for days, day dreaming about the characters, reimaging their fates, this movie could not leave me. I wouldn’t let it. Furthermore, I was more inclined to analyze In the Mood for Love after having watched another Wong Kar Wai masterpiece, Chung King Express (1994), because the resonating power both these films have had on me are immensely powerful. It is extremely rare when a filmmaker has the ability to really leave a mark on your life, twice. The film, In the Mood for Love is produced under the shroud of the Hong Kong New Wave movement (1978-2000), in particularly the Second Wave. This film movement analyzes major social issues grappling Hong Kong such as decolonization, social class, and the importance of women in a rising global economy. As a result the following analysis will chronicle the details of the Hong Kong Second Wave film movement, along with a detailed description of Wong Kar Wai’s film aesthetics, and a deep evaluation of the acclaimed movie, In the Mood for Love.

Modernization in the 1980s paved the way for the Hong Kong New Wave, as the studio system set up in the 1950s was dismantled, the film industry experienced more freedom. Since decolonization was heavily present 75% of Hong Kong’s box office revenue were home grown movies, while the meager 15% was left for the foreign market. As one can see the political context of Hong Kong during the 1980s was the ideal breeding ground for a new innovative film movement that could capture the contemporary issues grappling the citizens of Hong Kong. Since the Hong Kong New Wave spans from the 1970s to the early 2000s, it is broken up into two smaller movements, the Hong Kong First Wave and the Hong Kong Second Wave. The Hong Kong First Wave, sprung as a sort of retaliation to the commercial movies and focused on independent filmmakers that wanted to drive away from the slapstick action and comedy and create something different. Famous movies in during this period include Boat People (1982) by Anna Hui and Fathers and Sons (1982) by Allen Fong. Most of the filmmakers associated with this movement have been educated abroad in western universities as a result of the “brain drain” and have returned to their country with new perspectives. Acquiring a western artistic mind, these independent filmmakers wanted to portray movies that were more realistic and were grounded in the struggles ordinary people face day to day. This perspective, very grounded in realism, draws a lot of similarity to the Italian Neorealism of the 1930s. A very important aspect of the New Wave is its lack of climax or resolution it...

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