filmfox

There is a gentle quality to this film, which is fundamentally about the violence done to women in the name of religion. Adding to this paradoxical juxtaposition, the acting is restrained and natural, presented with the languor that accompanies living in a hot and humid environment; the writing also reflects a kind of restraint. The film is set with India on the cusp of major change -- emergence into modernity, the beginning of the end of the Raj, the onset of the schism between Hindu fundamentalism and secularity. One of the few quotes from Ghandi is his statement that "I used to believe that God was Truth. Now I know that Truth is God", and its implications are the tracks along which this story runs. Everything about this film -- the robustness and strength of the screenplay, the reality of the acting, the gorgeous cinematography and wonderful soundtrack -- begs for it to be seen and seen widely.

I approached "In the Mood for Love" with great anticipation; after all, the film had received glowing reviews in the major print media and garnered some notable awards. Much to my surprise, I found the film to be extraordinarily self-referential, with tricky camera angles and shots, time-lapsed and out-of-phase location jumps and irritating tics, not the least of which was Maggie Cheung's unending stream of the single dress in multiple fabrics contrasted to Tony Leung's wardrobe of blue silk suits. This monotonal, if not monochromatic approach was reflected in the non-romantic romance, most frequently depicted by two actors staring meaningfully(?), longingly(?), achingly(?), lustfully(?) into the middle distance. And the overweening pretension was sublimely manifest in the scenes at Angkor Wat -- of no relevance whatever to the confines of the bleak and grimy Hong Kong depicted in 2/3's of the film. What a bore!

This is a lovely movie! Original, emotionally gripping and, most unusual these days, the major characters come to grips with differences in their lives and grow from their encounters! My only caveat is the ending, which lent an aura of saccharine -- the movie could have ended with Billy on the bus -- and should have. In many ways the ambience, characters, pacing all remind me of "The Bicycle Thief" -- high praise indeed!. How this film failed to garner multiple Oscar nominations is a mystery, particularly when contrasted with bloated costume dramas like The Gladiator!