Wong Kar-Wai
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Everything Everywhere All at Once (2022)
Directed by Daniel Scheinert
influenced by In the Mood for Love (2000)
Visuals
Daniels stuffs the frame with flashes of memory, paying homage to different genres and mimicking specific film aesthetics; the directors hop from stop-motion animation to wuxia to a breathtaking re-creation of Wong Kar-wai’s In the Mood for Love .
One of them became a Hong Kong action star after denying Waymond’s marriage proposal, and now yearns for the man who got away in a rainswept alley that’s soaked with “In the Mood for Love” ambiance and shot with flashes of Wong Kar-Wai’s signature step-printing technique (Yeoh channels Maggie Cheung, and Quan makes for a dashing Tony Leung stand-in).
In one universe, Waymond appears as a version of Tony Leung in scenes inspired by Wong Kar-wai’s In the Mood for Love (2000), complete with blurry slow-mo and green-hued streets.
Meanwhile, film lovers will spot easter eggs to films such as 2001: A Space Odyssey , In the Mood For Love , Ratatouille , and more.
So, that means there is a timeline where Evelyn decides not to leave home as a young woman, move to America, and start a laundromat, and instead she becomes an international film star whose career very much resembles Michelle Yeoh’s and lives in an world that looks like Wong Kar-wai’s In The Mood For Love.
He gets to show off all sorts of skill sets as the various Waymonds — one of the more melancholy timelines mimics a Wong Kar Wai movie, complete with him and Yeoh dreamily decked out like Tony Leung Chiu-Wai and Maggie Cheung in “In the Mood for Love” — but Quan’s most appealing incarnation is as the gallantly goofy husband of our own beleaguered universe, whose relentlessly sunny disposition seems dippy and dull-witted at first, but is revealed to be an act of defiance against the gloom-and-doom of a grindingly downbeat world.
An Asian spin on such classics of forbidden passion and lost romance as 1945's "Brief Encounter" would seem the last thing one would expect from director Wong Kar-wai, best known for such freewheeling, improvisational efforts as "Chungking Express" (1994) and "Happy Together" (1997).
At the Lincoln Plaza, the Angelika.RAPTUROUSLY elegant and deeply sexy in a deliciously restrained way, Wong Kar-wai’s “In the Mood for Love” is one of the most romantic movies I have ever seen, right up there with “Brief Encounter” and “Casablanca.”
"In the Mood for Love" is a real old-fashioned romance, suffused with unspoken desire -- in the mode of David Lean and Noel Coward's classic British railway station romance, "Brief Encounter," which was also about two married people who fell hard yet stayed apart.
Wong Kar-wai has created a classic of the genre with "In the Mood for Love" that can stand alongside David Lean's "Brief Encounter."
In his latest and arguably best film, In the Mood for Love, he addresses each of those preoccupations in a ravishingly beautiful tone poem that plays like a Chinese remake of Brief Encounter.
If Beale Street Could Talk (2018)
Directed by Barry Jenkins
influenced by In the Mood for Love (2000), Chungking Express (1994)
Visuals Themes
It also evokes the styles of other world filmmakers whom Jenkins has acknowledged as his influences, including Claire Denis, Hou Hsiao-hsien and especially Wong Kar-wai, the Hong Kong auteur best known for his romantic melodrama “In the Mood for Love.”
It’s a film of intimacy, with its truly extraordinary performances allowed by Jenkins to breathe, but also a film of grandeur, a lushly cinematic romance under a sociopolitical cloud (Jenkins took inspiration from Wong Kar-Wai’s similarly lush In the Mood for Love).
Jenkins has cited Hong Kong filmmaking legend Wong Kar-wai as a major influence, and Wong's sumptuous, colorful romances like In the Mood for Love and Chungking Express clearly shaped the way that Jenkins interprets Baldwin's book.
Much like Moonlight , and its direct inspiration In the Mood for Love , Jenkins uses the diner as love’s breading ground (a diner where Fonny’s friend, played Diego Luna works).
As in something like In The Mood For Love , the period details almost fade into the background, the film evoking a nostalgic mood without overdoing it on the popular music.
Jenkins has not hidden his adoration of Wong Kar-wai, and it’s hard not to feel that Beale Street is his In the Mood for Love : a masterful period romance told in lush colors (here mostly ’70s-appropriate mustard and jade) and dancing curlicues of cigarette smoke, a love language rooted in meaningful looks and wordless understandings, and with an extraordinary strings-based score (by Nicholas Britell) that conveys the couple’s tragic yearning and inner earthquakes.
The film carries echoes of other movies like Wong Kar-wai's “In the Mood for Love,” Richard Linklater's “Before Sunrise,” and David Lean's “The Passionate Friends,” but “Past Lives” so confidently belongs to Song—the way she envelopes the settings around her characters, how carefully she constructs their relationship over the years, and how quickly she returns that excited feeling to their conversations after years of silence.
House of Flying Daggers (2004)
Directed by Zhang Yimou
influenced by The Grandmaster (2013), In the Mood for Love (2000)
Music
The score, by Shigeru Umebayashi (In The Mood For Love), is delightful, with motifs that knowingly reference Nina Rota's themes for The Godfather and Zefferelli's Romeo and Juliet.
The breathtaking imagery is given a highly romanticized score by composer Shigeru Umebayashi ("In the Mood for Love") with a theme sung by opera star Kathleen Battle.
He’s perfectly matched by the beautiful Zhang, bringing much of the energy she brought to hits like “Crouching Tiger, Hidden Dragon” and “House of Flying Daggers.”
As a young girl she wowed in "Crouching Tiger, Hidden Dragon" (2000) and also "House of Flying Daggers" (2004).
You also have to fight the disappointment that Zhang has put away the wild and wildish things of Crouching Tiger, Hidden Dragon; Rush Hour 2; House of Flying Daggers; 2046; or the all-Mandarin version of Dangerous Liaisons.
California Dreamin' (2007)
Directed by Cristian Nemescu
influenced by Chungking Express (1994)
Music
Faye talks about moving to the United States and is forever playing her favorite song, "California Dreamin'."
Holding onto the key and letter is Faye (Hong Kong pop star Fay Wang), an aloof, pixie-ish employee whose theme song (which she never tires of hearing, even though we do) is "California Dreamin'," and who schemes to comfort the lovelorn cop by sneaking into his apartment and redecorating the place as an expression of her own secretive affection.
Badge No. 663 hangs around a fast-food emporium mooning over a stewardess who skipped out, while the boss tries to steer him to his new waitress Faye (Faye Wang), a trim, T-shirted cutie who keeps bopping away to her own tape of the Mamas and the Papas' "California Dreamin.' "
In interviews with the Western press, Wong speaks of being inspired by Hitchcock’s Vertigo.
In the close attention paid by their respective boarders, it recalls the opening moments of Splendor in the Grass; in Mrs. Chan's interactions with her boss and the just-off-screen conversations Mr. Chow has with his wife ("She went home early?
It's not unlike the "seduction" scene from Budd Boetticher's Seven Men From Now--a strange connection, I know, but defensible from the perspective of the two pictures' poetic, romantic brevity.
One reason is that both make great movies that profess their love for other great movies--Chungking for Breathless, Bringing Up Baby, and Blade Runner, to name just three.
Gawky, very young, uncertain of what to do with her life but determined to find out, Faye, who has a Jean Seberg "Breathless"-style haircut, grows concerned about the despondent police officer.
Waves (2019)
Directed by Trey Edward Shults
influenced by Chungking Express (1994), In the Mood for Love (2000)
Visuals Plot
Shults bears stylistic echoes to the films of Barry Jenkins (“Moonlight”) and Hong Kong’s Wong Kar-wai (“In the Mood for Love”) but has come up with something that is totally his own.
Midway through “Waves,” Shults elbows Tyler aside to refocus on his sister — a shift as radical as what follows the shower scene in “Psycho,” and for which he was inspired by the bifurcated structure of Wong Kar-wai’s “Chungking Express.”
“I remember seeing Chungking Express .
The film was shot by Christopher Doyle ("In the Mood for Love," "Paranoid Park") in a semi-straightforward manner that nonetheless has an underlying sense of magic, accentuated by original music from Sigur Rós keyboardist Kjartan Sveinsson, both of which recall "Local Hero" yet achieve their own tone.
The movie jumps the selkie completely in the final act, which culminates in a climax marred by muddy visuals (it's hard to believe these scenes were lensed by noted cinematographer Christopher Doyle, the man behind the lush images in Zhang Yimou's Hero and Wong Kar Wai's In the Mood for Love) and contrived plot points.
Shot by the spectacular Christopher Doyle ( In the Mood for Love , The White Countess ), Ondine is one of the most beautiful films of the year.
Of Horses and Men (2013)
Directed by Benedikt Erlingsson
influenced by Chungking Express (1994)
Visuals
It consists of a handful of vignettes, sometimes handed off in a manner that recalls Chungking Express.
Lee may be overtly mining the territory of Woo and Tarantino, but in the end his sensibility is closer to that of Hong Kong director Wong Kar-Wai (whose radiantly expressionistic 1994 "Chungking Express" itself channels Jean-Luc Godard). Lee has a mischievous elfin streak, a penchant for trying naughty little tricks that shouldn't work but somehow do: During that stakeout sequence mentioned earlier, when Woo and Kim wax wistful about hot soup, Lee plunks a blurry-edged surrealist vision of it in the corner of the frame, steam shimmering from its glistening surface like a wraith in a Cocteau film.
( Chungking Express predates Nowhere To Hide by several years, but Lee’s career dates back to 1989, and those early films are rarely screened, so for all I know he did get there first, as he claims.)
He is a journalist with a selection of suits and ties that Richard Gere would have killed for in his "American Gigolo" days.
Moonlight (2016)
Directed by Barry Jenkins
influenced by Happy Together (1997), In the Mood for Love (2000)
Themes
La gran influencia de Jenkins pareciera ser más bien Wong Kar-wai con su sensual Happy Together (1997), donde la relación entre dos hombres vale más por resumir la experiencia de un amor abusivo, que por distinguir a una pareja gay de sus pares heterosexuales.
Well, that film is called Moonlight , and it’s on the same level as those others, though it bears a closer resemblance to Wong Kar-Wai’s 2001 romance In the Mood for Love, a love story of regrets and missed connections.
Decision to Leave (2022)
Directed by Park Chan-wook
influenced by In the Mood for Love (2000)
Themes
(There’s no sex, not even a kiss, which heightens the erotic tension, as in Wong Kar-wai’s 2000 masterpiece In the Mood for Love.)
Slide-guitarist Ry Cooder is on the soundtrack as well, and his presence reminded me not just of the musical artists that Cooder has helped make a commercially rewarding border-crossing to America (they include Ali Farka Touré and Buena Vista Social Club) but also to the Wim Wenders film he scored, Paris, Texas.
Before Sunset (2004)
Directed by Richard Linklater
influenced by Days of Being Wild (1990), In the Mood for Love (2000)
Themes
In Days of Being Wild and Slacker, Ashes of Time and TheNewton Boys, Happy Together and Dazed and Confused, and In the Mood for Love and Before Sunrise they're especially astute observers of where and who we are in history.
In Days of Being Wild and Slacker, Ashes of Time and TheNewton Boys, Happy Together and Dazed and Confused, and In the Mood for Love and Before Sunrise they're especially astute observers of where and who we are in history.
Al igual que en Happy Together (1997), de Wong Kar-wai, la enfermedad y el cuidado son una herramienta de coerción, mientras que las setas, el más fálico de los alimentos, regresan de ambas versiones de El seductor ( The Beguiled , 1971, 2017) como un veneno y un signo de la toxicidad masculina.