Also, upon first viewing, the string motif becomes a little annoying as it plays over and over and over. Wong is trying to convey the eclectic nature of the place his characters inhabit. The source music is all over the map, from Nat King Cole to random Chinese tunes. Not quite as powerful, is still a gem that proves Galasso's ability to strike a deep visceral chord with the listener. A bonus track on the CD soundtrack, "Casanova's Flute," though After years of separation from Cheung, journalist Leung visits a temple in Cambodia and has a cathartic, though tragic, experience.Īt first glance, a sad score mixed with exotic images of Southeast Asia seems too easy a way to present a spiritual change, but the combination of Wong's images and Galasso's "Angkor Wat Theme" is almost devastating in its power and is undeniably effective. Though this repetition is effective, where the soundtrack really shines through is at the end. You hear the strings being plucked as Cheung repeatedly does the familiar walk to get soup from her local street vendor, alone, and after witnessing this scene a few times, you truly feel what a sad existence hers is. Wong uses a string motif by Umebayashi over and over to convey the unhappy daily grind experienced by Leung's and Cheung's characters. Similarly, the soundtrack, with pieces by Michael Galasso, Shigeru Umebayashi, and Nat King Cole, among others, has an equally unique power to draw us into the story by creating a rich, haunting atmosphere. The lushness of the imagery draws the audience into this world, making us feel a unique level of empathy with the characters. The production design by William Chang and cinematography by Christopher Doyle and Lee Ping-bin help evoke the feeling of a moldy, grimy, but thoroughly intriguing 1960's Hong Kong. Without giving away too much, the ending shows that both are fully aware of their plight, and know that they had found and missed out on true love, which makes it all the more tragic. The audience watches as these two very likeable characters find true happiness in spending time with each other instead of in their loveless marriages, and it becomes almost unbearable to watch their self-denial and eventual separation. But in the spirit of any great love story, this love is not meant to be and is hindered by nothing more than the quiet reserve of each of the characters. Tony Leung and Maggie Cheung play two neighbors who learn that their spouses are having an affair as Leung and Cheung seek solace in each other, their passion for each other grows and develops. The lush visuals and striking soundtrack create an atmosphere that draws you in and keeps you interested, despite the unfocused storyline. It is a meditation on the nature of true love and the amazingly simple social boundaries that stand in the way of that love. To celebrate its 20th anniversary, see how In The Mood for Love went from concept to Cannes in our new video documenting the troubled 15-month production behind Wong Kar-Wai’s iconic film.Wong Kar-wai's In the Mood for Love is a languid, sometimes ponderous work that surprises as it develops into a truly moving, thought-provoking piece. Wong Kar-Wai’s In the Mood for Love stands tall as a modern classic today but its road to worldwide acclaim was marred by various problems behind the scenes.