Reflecting on In the Mood for Love Film

Reflecting on In the Mood for Love Film

This section sees to argue sound and editing elements are expertly intertwined through a tale of bittersweet unrequited love in Wong Kar-Wai’s film In the Mood for Love. This will be achieved by scrutinizing the opening series of events in detail and analyzing the two artistic components citing examples of instances where they appear in the film.

In the creation of this movie, sound holds a crucial part story-telling, and this report finds the strings motifs as the most significant components of the sound. From the film, one can be tempted to refer to the sound as a theme to Su’s character since it is played every time went to purchase some noodles down the street. Violin sounds are unpleasant, thus creating monotony and sad moods, which suggests Su’s life metaphor. Chinese operas present diegetic sounds, human chattering sounds, and mahjong games sound, which helps the audience to reflected and associate with the real-life situation of Hong Kong during the 1960s. These sounds are of great benefit since they invoke the essence of nostalgia in the movie.  Incorporation of sounds of music done by Nat King Cole was of significant impact in the film. For example, in the scene where Chow calls Su as he prepared to leave for Singapore and asks Su if she could go with him if he gets an extra ticket. Su does not respond to the question; instead, a capturing sound slowly fills the air suggesting that the audience has been presented with the time of answer they can relate to from the sound.

In all sections of the film, maximum attention focused on protonic conversations that commit to revealing how the lovers met. At times in the movie, confusions are witnessed as a result of these protagonists’ dialogues as they try to fit in playing their role as spouses. In several instances, Chow and Su engage in conversations as if they were a couple suggesting that viewers are left to digest the relevance of those dialogues with the few cues that they manage to pick. To indicate that, they are intentionally done in the film In the Mood for Love to compel the audience to create inferences. Several story scenes on this film can be termed as having a disabling environment that is effectively complemented by the continuous diegetic sounds from the falling rain.

The cinematography approach in In the Mood for Love film shorts are a little longer; thus, they reduce the burden and need for editing. This suggests that its audience is saved the agony of interruptions by the cuts found within a shot, which ensures the audience is slowly captivated and joins the story world. Continuity editing can pre-dominantly be witnessed through the film, unlike continuity editing that can be seen rarely. Continuity editing aims at ensuring the audience’s continuous illusion of space and time. This view is legit since the unfolding of the storyline done on the linear narrative way, which captivates the audience and makes updated immersion into the story as they develop throughout the film. Straight cuts designed to join together all the shots because, in dialogue sequences, films embrace shot-reverse-shots. Nonetheless, In the Mood for Love film takes a different direction and assumes the role of cues for the audience during crucial scenes. Thus, this strategy perceives that the viewers are presented with some essential ideas on the developments of the film. It also fits well with the explanations of Su’s violin sound truck in most of her scenes.

To emphasize on this sound, rhythmic editing is adopted in slowing down the duration of shots when the melancholy song is played in the film. It brings a sense of understanding to the viewers that the events are unfolding on slow motion. One needs to have an exceptional taste for acquire to entirely fall for Wong Kar Wai’s In the Mood for Love film, but on sound and editing approaches have played a significant role in making it a masterpiece.