(Talking movies, differently #4)
Can you ground rule love with morality? If so, does it work?
Wong Kar-wai’s In the Mood for Love isn’t just a simple, visually enticing and expressive movie where a similar kind of betrayal sows seeds for togetherness in suffering that eventually circulates to its own source. It’s a movie that tries to replicate the betrayal by the sufferers in order to understand their own partners and to share affinity in the similar kind of pain thus transcending into their own kind of love. Set in the 1960s’ Hong Kong, the cultural setting of the story and the characters seems to be streamed into the rigid constructs of marriage and morality, which of course the movie doesn’t fail to portray visually by using the ‘frame within a frame’ technique of cinematography. Often caught up between the classic conflict of ‘to do or not to do,’ Chan and Su’s love is sadly left behind as a secret whispered in a cracked wall of some distant temple in Cambodia.