![]() ![]() ![]() Neither character addresses the cheating directly, but thanks to the intimacy of a shared wardrobe, they don’t have to. Those sartorial coincidences reveal the affair. ![]() She is a Professor of American Studies, Government and Politics, and core faculty member in the Asian American Studies Program at the University of Maryland, College Park. Each day she carries a new handbag identical to the Japanese purses Su’s spouse brings back for her after trips abroad. Janelle Staci Wong is an American political scientist. Chow and Su both suspect their spouses are cheating on them, and their suspicions are confirmed via accessories, namely the tie that Su’s husband wears each day, purchased at the same store where Chow’s wife buys his. Chan would not be as evident sans those immaculate Cheongsam dresses and bold red trench.įrom the very first act, clothing plays a role in the film’s trajectory. Likewise, the sensuality of Maggie Cheung’s otherwise reserved secretary Su Li-zhen aka Mrs. The quiet longing of Tony Leung’s journalist Chow Mo-Wan wouldn’t be the same without his buttoned-up wardrobe of suits and floral ties. In Kar Wai’s world, mise-en-scene conveys as much information as dialogue and character’s clothing choices reveal sides of their personality they never express verbally. The film, which premiered 20 years ago today at the Cannes Film Festival, could be summed up with those words, though its costumes do an excellent job of telling the story, too. “It is a restless moment” reads the title cards that flashes before the main characters are introduced. Wong Kar Wai’s romantic masterpiece, In the Mood for Love, begins with a pronouncement. ![]()
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