Perhaps we could say that the real subject
of In the Mood for
Love, then, is the gulf which divides the past from the present, articulated both by the film's sumptuous period imagery — the colors and textures of Hong Kong in the 1960s rendered iconic by Wong's patient, perceptive eye — and its mesmerizing coda, in which Mr. Chow whispers the secret of his love and longing into a hole in the side of an ancient ruin in Cambodia, a site which stands as an enduring symbol of time's ceaseless forward ma
Love, then, is the gulf which divides the past from the present, articulated both by the film's sumptuous period imagery — the colors and textures
of Hong Kong in the 1960s rendered iconic by Wong's patient, perceptive eye — and its mesmerizing coda, in which Mr. Chow whispers the secret
of his
love and longing into a hole in the side of an ancient ruin in Cambodia, a site which stands as an enduring symbol of time's ceaseless forward ma
love and longing into a hole in the side
of an ancient ruin in Cambodia, a site which stands as an
enduring symbol of time's ceaseless forward march.