Fellow Film Club Members and Film Buffs:

Yes, yes, October has settled into a real Fall mode, and lovely rain has become a staple. What better thing to do on a rainy day, or night, than go to see a film? Join us this Friday to watch IN THE MOOD FOR LOVE (2000), directed by Kar Wai Wong.

Wong credits himself as writer for most of his films, and that is due in part to the fact that he never works from a finished script. Filming was shifted from Beijing to Macau after Chinese authorities demanded to see a film script, which did not exist. Wong often lets his actors improvise, and he sets the story and mood as they go along. He never went to film school, but he was the first Chinese director to become “Best Director” at Cannes in 1997. He has directed 18 films since 1988, including CHUNGKING EXPRESS (1994), ASHES OF TIME (1995), and MY BLUEBERRY NIGHTS (2007)

The primary cinematographer was Christopher Doyle, who has shot many of Wong’s films. He has lensed 57 films since 1983, including PSYCHO (1998), RABBIT PROOF FENCE (2002), THE QUIET AMERICAN (2002), THE WHITE COUNTESS (2005), and ONDINE (2009). IN THE MOOD FOR LOVE won several awards for best cinematography in 2000.

Roger Ebert wrote: “The movie is physically lush. The deep colors of film noir saturate the scenes: Reds, yellows, browns, deep shadows. One scene opens with only a coil of cigarette smoke, and then reveals its characters. In the hallway outside the two apartments, the camera slides back and forth, emphasizing not their nearness but that there are two apartments, not one.”

Peter Travers of ROLLING STONE wrote;”Has a movie ever smoldered more ravishingly with the promise of sex than “In the Mood for Love?” Not in recent memory. And the fact that Wong Kar-wai, the film’s spectacularly gifted writer and director, doesn’t deliver any hard-core action only heightens the steamy atmosphere. Nothing’s hotter than repression — especially in this movie, which makes foreplay look like a lost art.”


Directed by Kar Wai Wong @ 98 minutes; in Chinese with English subtitles.

The film stars Tony Leung, Maggie Cheung, and Ping Lam Siu.

Synopsis:  In 1962, a man and a woman move into neighboring Hong Kong apartments and form a bond when they both suspect their spouses of extra-marital affairs; hurt and angry, they find comfort in their blossoming friendship–even as they vow not to become like their unfaithful mates.

Tagline: Feel the heat, keep the feeling burning–let the sensation explode.

Trivia: Tony Leung Wai won Best Actor at Cannes in 2000. Maggie Cheung’s hair and make up took five hours each day. The film took 15 months to shoot.

So mark your calendars and join us this Friday, October 14, 2011 to see Kar Wai Wong’s IN THE MOOD FOR LOVE (2000). We are screening it at 924 Broadway, in the Pythian Temple, street level, across from Theater on the Square, in the heart of Tacoma’s Theater District. Look for the huge club banner hanging out front. Come early and join us for fellowship and a wonderful meal prepared by the Phantom Director and Farishta. There will be a door prize giveaway of a great DVD from my personal collection, and cash tickets, the winner getting 40% of the collected revenue, will be on sale for one dollar each. The meal will be served at 6:15 p.m. IN THE MOOD FOR LOVE will screen at 7:15 p.m., running 98 minutes, so the movie will be over by 9:30 p.m. See you at the movies!



One thought on “IN THE MOOD FOR LOVE @ 924 BROADWAY

  1. Here is how the members of the Tacoma Film Club rated this film:
    TFC ratings for In the Mood for Love

    Personally, I was one of three raters to give Kar Wai Wong’s film, In the Mood for Love, a rating of 5 out of 5. As one of the most visually striking films I have ever experienced, it qualifies for one of my top-ten lists. The combination of film-nourish cinematography (quiet fog, splattering rain, wisps of smoke, images reflected in glass), hyper-stylized set design and fashion (the luscious, sheer Cheongsam dresses alone are enough to make me want to see this film again), and the use of editing to create scenes of slow motion dance set to music (ranging from Chinese Opera, to Nat King Cole, to original music by Michael Galasso and Shigeru Umebayashi) all serve to create a romantic and nostalgic style perfectly capturing the mood of longing for a lost love.

    The main narrative theme of the film is made explicit in words in the closing epilogue: “He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see but not touch. And everything he sees is blurred and indistinct.”

    The film captures an idea elaborated by the philosopher Heideggar. He discussed how the future and the past both share a similarity in that they, unlike the present, are not available as an immediate experience. However, the past and future differ from one another in the way they are unavailable. The future is unavailable because it is currently hidden, but it remains open to disclosure. The past is unavailable because it is forbidden.

    I was surprised to see the relatively low ratings given to this film by members of the Tacoma Film Club. One factor that become apparent during our discussion is that it was appreciated more, in general, by the men in our group than the women. That surprises me since it is, at its heart, a romantic film, and has none of the features that would typically be thought to appeal to prototypical males (no violence, no explicit sex, no chase scenes). Perhaps there is some archetypical romantic feeling about nostalgia for a lost love that appeals more to males than females? At any rate, my recommendation for anyone, men or women, is to give yourself a treat — go watch this beautiful film.

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