The movie prominently features Shigeru Umenyabashi’s “ Yumeji’s Theme” taken from Seijun Suzuki’s “Yumeji,” a lesser-known movie made nine years eariler. ![]() The sense of nostalgia evoked by those songs contributes to the movie’s depiction of a past relationship tinged with the thought of what might have been. The title is also fitting in the context of the movie’s soundtrack, which is populated with romantic ballads from the same era. Wong came across a song by former Roxy Music frontman Bryan Ferry, a cover of the classic jazz standard “I’m In the Mood for Love.” The song, which opens with the lyrics: “I’m in the mood for love / Simply because you’re near me,” communicates the longing between the film’s two central characters. Given how much of the movie revolves around hidden liaisons, the film was originally meant to be called “Secrets,” but the Cannes Film Festival asked Wong to change the title to something less generic. Chow’s martial arts serials while keeping their blossoming yet platonic affection hidden from their neighbors. Their casual acquaintanceship grows closer following this reveal, with the pair renting a hotel room to work on Mr. Chan act as the other’s respective spouses to figure out how they initiated their relationship, but are mindful to keep their own interactions chaste. Chan’s husband, leaving them heartbroken and betrayed. Chow’s wife is having an affair with Mrs. Chan’s husband takes frequent business trips, they both frequently find themselves alone, consequently gaining a sense of companionship in one another. Chan, two neighbors in an apartment complex in 1960s Hong Kong. “In the Mood for Love” centers around the characters of Mr. Michael Galasso’s score for one of Wong’s later movies, “In the Mood for Love,” manages to accomplish the same feat, using a stirring violin motif and the warm voice of Nat King Cole to evoke a sense of hopeless romance. One of the most famous instances of this technique is the ominous two-note refrain that plays whenever the shark approaches beachgoers in John Williams’ score to “Jaws.” By the end of the movie, just hearing that musical cue is enough to instill a sense of panic in audience members.ĭirector Wong Kar-Wai is no stranger to using musical motifs: 1994’s “Chungking Express” uses The Mamas & the Papas’ wintry “ California Dreamin’” to soundtrack nearly ten minutes of the movie, adding to its hypnotic effect. Musical motifs, when done well, can enhance one’s emotional response to a movie.
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