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Post：10 Film Review — In the Mood for Love

In “In the Mood for Love,” Wang Jiawei used metaphorical montage and repeated montage techniques to implicitly and naturally convey the theme of the film. While expressing the emotional changes of the hero and heroine. It also hints at the real status of Hong Kong society in the 1960s, giving the color of the film era and Social significance has enhanced the artistic value of the film. For example, the film through Su Lizhen for the boss to call Mrs. He (who is the boss’s wife) and to Miss Yu (He boss’s lover) to call, buy gifts, shows that the boss is also between the lover and his wife. Combined with the whole story, we have experienced the real-life and emotional status of the petty bourgeoisie in the Hong Kong society in the 1960s. It’s not just Su Lizhen’s husband and Zhou Muyun’s wife’s “out of the wall.” Many people, like them, have a lover outside, and they are all sneaky. In “In the Mood for Love,” the director uses some series of metaphorical expression techniques to imply the contents of the characters. The characteristics of the times and the cultural connotations in the film. In the details, while deepening the theme, it is expressing Subtle beauty.

In “In the Mood for Love,” the heroine Su Lizhen only wears qipao from beginning to end in the film. Twenty-three sets of qipao use a variety of colorful fabrics, and the slim fit so that Su Lizhen’s symmetrical shape is more exquisite and beautiful. The various qipao styles of attractive women show the warmth of oriental women.

When the film “In the Mood for Love” is shaping the characters, the director chooses the same color system for color arrangement, which weakens the complex and elusive feelings. To some extent, the color arrangement usually uses the color tone to set off the inner feelings of the character.