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Celebrating 20 Years of ITMFL

 
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yitian



Joined: 06 Jul 2011
Posts: 1992
Location: United States

PostPosted: Wed May 20, 2020 6:11 am    Post subject: Celebrating 20 Years of ITMFL Reply with quote

Today, 20200520, marks the 20th anniversary of "In The Mood For Love" world premiere at the Cannes International Film Festival. The following day, Tony won the best actor award for his portrait in this movie king Applause .

Start with 2 pix posted by Jettone on Weibo today Very Happy . While the first one is self-explanatory, the second is a never seen before pic from WKW's collection, taken on the first day of filming ITMFL.




Last edited by yitian on Wed May 20, 2020 6:41 am; edited 1 time in total
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yitian



Joined: 06 Jul 2011
Posts: 1992
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PostPosted: Wed May 20, 2020 6:16 am    Post subject: Reply with quote

Cannes Stories
By David Hudson
On Film / The Daily — May 14, 2020
https://www.criterion.com/current/posts/6946-cannes-stories


Tony Leung Chiu-wai in Wong Kar-wai’s In the Mood for Love (2000)

Wong Kar-wai aims to begin shooting Blossoms, an adaptation of Jin Yucheng’s 2012 novel, in July. For Variety’s Rebecca Davis, this news is “the latest indication that film production in mainland China is revving back up again after coronavirus closures.” The novel, which has won a good number of top literary prizes in China, is set in Shanghai, where Wong was born, and spins a series of interwoven tales over the course of two periods, the first stretching from the 1960s through the end of the Cultural Revolution in 1976, and the second spanning the boom years from the 1980s to the year 2000.

Profiling Jin for That’s Shanghai last year, Dominic Ngai notes that in the preface to Blossoms, “Jin compares the final scene of Wong’s Days of Being Wild (1990), where Tony Leung appears as an unnamed character (later introduced as Zhou Muyun in In the Mood for Love) counting banknotes and combing his hair for a night of gambling, to the corrupted, money-driven society that Shanghai has become since the economic boom. This ‘cameo’ likely paved the way for his collaboration with the celebrated filmmaker.” Jin says that Wong has told him that “he was really moved by the book, and said that the characters’ experiences reminded him of what his brother and sister had been through.” At the Film Stage, Jordan Raup has reported that Wong has said that Blossoms would be a third installment in a story begun with In the Mood for Love (2000) and 2046 (2004).

When In the Mood for Love premiered in Cannes twenty years ago, Alejandro González Iñárritu and his wife, unable to find a taxi, raced on foot—he in a tux, she carrying her high heels—to catch the screening. After the credits rolled, “Maria and I walked in complete silence for almost ten minutes,” he tells New York Times film critics Manohla Dargis and A. O. Scott. “We suddenly stopped by the sea. Maria hugged me and started crying inconsolably on my shoulder. And I did the same on hers. In the Mood for Love had left us speechless and deeply moved. It was that moment that reminded me why, even when it’s so stupidly difficult sometimes, I wanted to become a filmmaker.”

Iñárritu’s is one of nearly two dozen Cannes stories Dargis and Scott have gathered, and what comes through loud and clear in this marvelous collection is just how sorely the festival is being missed this year. One of the most moving stories is told by Alice Rohrwacher, who cast her father’s sworn enemy, Carlo Tarmati, in The Wonders (2014). “And then,” she says, “during the screening, Carlo and my father recognized themselves in the story. They laughed and cried together. They were afraid together. They loved the work we had all done together. At the party after the screening they teased each other. In a few days, they were best buddies, inseparable.” More anecdotes, memories, and reflections come from Josh and Benny Safdie, Wes Anderson, Clint Eastwood, Jia Zhangke, Claire Denis, Kleber Mendonça Filho, Abel Ferrara, and so on, and so on. “A year without Cannes is a sterile year,” says Christophe Honoré. “No need to deny it. It is a hole, a void, an inconsolable absence.”

On Tuesday, the day that the seventy-third edition would have opened, Dargis and Scott took part in an informal roundtable with the NYT’s awards season columnist, Kyle Buchanan. “Whether it’s the festival’s repudiation of Netflix, or the way Cannes grapples with the #MeToo movement and gender parity, the controversies on the Croisette can be instructive,” writes Buchanan. “It seems strange to say I’ll miss all that, but I find that Cannes holds a chic, cracked mirror up to Hollywood, and I always leave with a new perspective on what I’m returning to.” David Ehrlich, taking part in a similar exchange with fellow IndieWire writers Eric Kohn and Anne Thompson, agrees. “Yes, it’s stuffy and draconian and resistant to change even when it represents progress, but the fact that the festival is stuck in the past is also what gives Cannes its power,” he writes. “Being at Cannes is a kind of cinephilic ecstasy that’s hard to describe, and impossible to equal.”

And evidently, it always has been. In a dispatch to Esprit from the second edition of the festival in 1947, André Bazin, the renowned critic who would go on to cofound Cahiers du cinéma a few years later, described feeling out of place on the Croisette among the tanned, the beautiful, and the rich. “It was then that the critic realized that cinema was a dream,” he wrote in the piece translated by Sis Matthé for Sabzian, “because it is nothing but a ‘dramatization’ of the realization of a desire. At the cinema, no woman, no matter how beautiful, is forbidden since you are Clark Gable, Humphrey Bogart, or Spencer Tracy . . . For those who do not participate in it, the reality of luxury naturally provokes the painful awareness of being banned. Its cinematographic dramatization, on the contrary, equals its realization and the euphoria of possession. But it was time for the screening. The critic, his skin still white, only had time to get dressed and run off to the cinema.”
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yitian



Joined: 06 Jul 2011
Posts: 1992
Location: United States

PostPosted: Wed May 20, 2020 6:25 am    Post subject: Reply with quote

How Wong Kar-wai’s In the Mood for Love became a modern masterpiece – 20 years after it premiered

Starring Tony Leung and Maggie Cheung, critical response to the film back in 2000 was initially muted, even though the director’s Chungking Express (1994) had been praised by the likes of Quentin Tarantino; today though, In the Mood for Love is regarded by many as one of the greatest films of the 21st century so far

Douglas Parkes
Published: 6:00pm, 18 May, 2020

https://www.scmp.com/magazines/style/article/3084877/how-wong-kar-wais-mood-love-became-modern-masterpiece-20-years


Maggie Cheung and Tony Leung are the stars of Wong Kar-wai’s 2000 hit movie In The Mood for Love. Photo: handout

Wong Kar-wai’s In the Mood for Love premiered at Cannes on May 20, 2000. At the time, the critical response was somewhat subdued. Variety called it “an exquisitely fashioned melodrama” while simultaneously declaring that, like much of the director’s work, it had “more style than substance”. The Economist – with an attitude that showed why it would take another 20 years for an Asian film like Parasite to win big at the Oscars – declared that, with its 98 minutes duration, In the Mood for Love was merely “orientalism lite” before extolling other films ignored by the festival jury that it said were “the uncrowned kings of this 53rd Cannes festival”. Except who remembers Harry, a Friend Who Wishes You Well or I Prefer the Sound of the Sea in 2020? The Guardian barely had time for In the Mood for Love at all, merely noting in its round-up that Tony Leung Chiu-wai’s award for best actor was “well deserved”.

Here in 2020, the view looks quite different. In the Mood for Love is now viewed as a modern masterpiece. A BBC poll from 2016 ranked it the second greatest film of the 21st century until that point, saying “never before has a film spoken so fluently in the universal language of loss and desire”. Sight and Sound’s prestigious Greatest Films of All Time critics’ poll, last conducted in 2012, placed In the Mood for Love 24th, making it not only the highest ranked film of this century but of any film created between 1980 and 2012.

However, this cinematic gem had a surprisingly troubled creation. In the press kit for its Cannes premiere Wong stated, “Filming In the Mood for Love has been the most difficult experience of my career”.

The origins of In the Mood for Love date back to before the 1997 handover of Hong Kong from Britain to China. In the mid-90s, Wong was riding high on the international success of Chungking Express (1994), which was being heralded in the West by the likes of Quentin Tarantino, and praise for its more experimental follow-up Fallen Angels (1995). However, investors and distributors in Asia were wary of Wong following the excessively long, costly productions for his earlier films Days of Being Wild (1990) and Ashes of Time (1994).

As a result, Wong – in typical Hong Kong movie fashion – conceived of a plan to shoot two movies back to back. With the handover looming, the first was to be a more weighty affair about escaping Hong Kong. This would eventually be constructed as Happy Together (1997), shot and set predominantly in Buenos Aires.

The other half of this couple, which would eventually morph into In the Mood for Love, was meant to be a breezier thing in the style of Chungking Express. Intended to be about reconnecting with the mainland, its working title was Summer in Beijing and Tony Leung Chiu-wai and Maggie Cheung were lined up to star. However, the project was abandoned when China’s Film Bureau informed Wong he could not shoot in the country without the government first seeing and approving his script.

Although Wong’s cost-saving plans failed, he did not give up on the Summer in Beijing concept entirely (nor did he give up on the idea of shooting films simultaneously, as work on 2046, in very different form to the final product, began at the same time as In the Mood for Love). By now the director envisaged a film comprised of three short stories – one about a chef, one about the owner of a delicatessen and one about a writer. The link between the tales was to be food, with Beijing the name of a restaurant in Macau that would be used as a setting.


Tony Leung, Maggie Cheung and director Wong Kar-wai at the premiere of In The Mood for Love at Cannes in May 2000. Photo: AFP/Jack Guez

Wong would later reveal: “When we started the project, we called it A Story about Food, and it had three stories. [That part] we see in In the Mood for Love is actually only 30 minutes. It only takes place in the restaurants, in the noodle shop, in the staircase after they buy noodles pretending to have an affair. After I started this part, the main reason for me to make [In the Mood for Love] is I like this story, so I forgot about the other two stories which weren’t made.”

The story that survived was the one about the writer. For this, Wong was inspired by author Liu Yi-chang, whose words appear on screen and bookend In the Mood for Love. In particular, Wong felt a fondness for Liu’s Duidao, a short story about two singletons whose days overlap without the pair ever formally meeting and connecting.

Just as Wong seemed ready to get started on his new film the Asian financial crisis struck in July 1997, severely restricting funding. As Wong’s original investors withdrew, production ground to a halt while he was forced to find new backers.

Belatedly, the show got back on the road in 1999. However, Wong had a muddled imagining of what his film should be. Originally, it was titled simply The Mood for Love and the early scenes he shot were blithe and still based on food. One involved Leung and Cheung stir-frying ingredients in their hotel room 2046 while another was about the pair smuggling in a live chicken.


Maggie Cheung in a scene from In the Mood for Love. Photo: Jet Tone Films

Wong believed In the Mood for Love would be a quick shoot compared to the larger scale 2046, which was now about to get under way too and was initially intended to be based on certain Western operas. The first scenes, shot in Hong Kong, proceeded smoothly enough but things changed when Wong and his crew travelled to Bangkok to scout locations for 2046.

In the Thai capital Wong was amazed to discovered sites that recalled the Hong Kong of his 1960s childhood – the kind long demolished in Hong Kong itself. Wong was inspired, and it was here that In the Mood for Love took on its recognisable form, the tone growing more pensive and lugubrious. The director called his lead actors to Bangkok and, thoughts of 2046 pushed aside, a raft of new material was shot.

The film’s final scenes at Angkor Wat were equally serendipitous. Wong was looking for a Thai temple to film but when he was informed that he could shoot at the temple complex in Cambodia fairly easily, he jumped at the chance and hastily researched reasons that would justify Leung’s character visiting the country.

Wong has said he filmed more than 30 times the length of In the Mood for Love’s final cut. He worked on the film in post-production right until the last minute, barely making the deadline for the Cannes premiere – a process that left him and his production company “physically and financially exhausted”.

Whatever the subdued reactions upon its debut, appreciation for In the Mood for Love has only grown over time. This year Cannes planned a special screening of a 4K restoration of the film in celebration of its 20th anniversary. Evidently, fans are still very much in love with Wong’s greatest work.

In the Mood for Love (2000) ORIGINAL TRAILER [HD]
https://www.youtube.com/watch?v=dWVDZ98AFhI&feature=emb_logo
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Safran



Joined: 22 Mar 2006
Posts: 2522
Location: Austria

PostPosted: Wed May 20, 2020 7:04 am    Post subject: Reply with quote

Dear Yitian flower

Many thanks for your excellent summary of pics and articles/ warm words of appreciation !

ITMFL ....and Tony FOR EVER ! love

P.S.
Although we posted at different places, a typical case of mental telepathy ! Laughing
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yitian



Joined: 06 Jul 2011
Posts: 1992
Location: United States

PostPosted: Wed May 20, 2020 1:14 pm    Post subject: Reply with quote

Mental telepathy indeed Laughing

For ITMFL, these numbers can be made in good use:
520
and
5201314
I guess a Chinese will know meanings of these numbers. Can you hazard a guess Wink Laughing ?


Last edited by yitian on Thu May 21, 2020 7:17 pm; edited 1 time in total
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solitude87



Joined: 31 Jan 2008
Posts: 44
Location: NYC

PostPosted: Wed May 20, 2020 10:05 pm    Post subject: Reply with quote

Wow time flies. Can't believe it's already 20 years. Big congrats!
_________________
-Eve
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yitian



Joined: 06 Jul 2011
Posts: 1992
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PostPosted: Thu May 21, 2020 11:45 am    Post subject: Reply with quote

Today is 521, here comes our best actor love . Congrats [again] king Applause flower !
(Pix were originally posted on Weibo by various fans)










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yitian



Joined: 06 Jul 2011
Posts: 1992
Location: United States

PostPosted: Sat May 23, 2020 3:59 pm    Post subject: Reply with quote

On May 21st, WKW posted this following video on Weibo. Very Happy
He wrote:
【百年特寫】由1902年的《月球旅行記》(A Trip to the Moon) 剪到 2019年奧斯卡最佳電影《寄生蟲》(Parasite),經典電影特寫鏡頭精彩混剪!
「由導演、演員、與燈光完美結合的特寫鏡頭 (Close-up),成就了電影攝影的高度;通過鏡頭中演員的凝視,是觀眾與另一個FACES。」- Ingmar Bergman #英瑪褒曼

Translate:
[Faces Of Cinema] From the "A Trip to the Moon" in 1902 to the best Oscar movie "Parasite" in 2019, this is a wonderful montage of close-ups from classic movies!
“The close-up, the correctly illuminated, directed and acted close-up of an actor is and remains the height of cinematography…… That incredibly strange and mysterious contact you can suddenly experience with another soul through an actor’s gaze.” - Ingmar Bergman
Weibo video link:
https://www.weibo.com/tv/v/J2Yiiytsw?fid=1034:4507083840880668

In case some people don't have Weibo, I found Ignacio Montalvo's originally posted video on Vimeo (link below) Very Happy
https://vimeo.com/403105954
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yitian



Joined: 06 Jul 2011
Posts: 1992
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PostPosted: Sat May 23, 2020 4:13 pm    Post subject: Reply with quote

Here is one of those faces




Why am I fixated on those eyelashes Laughing ?
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