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Speaker 1: We're Tomy Lorenzo and this is the Bitter Kitten Movie Club.

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Hello Kitten's Welcome back to another edition of the b

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k MC, a supplemental edition of the Pop Style Opinion

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Pest podcast where we take a look at one movie

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per week and unpack everything we can unpack about it.

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This week's movie is director of Wan car Wise in

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The Mood for Love from two thousand, starring Maggie Cheung

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and Tony Leung. And you know, I gotta say, this

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is the third time I've watched this film. The first

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time I watched this film, it was only about five

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or six years ago. I had heard about it, I

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had seen clips from it, but I had never watched

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the full film. And I was compiling a book proposal

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about movie costumes, still working on that, and I knew

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that her dresses, I knew that Maggie Chung's chungsund dresses

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were iconic, so I wanted to watch the film to

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see if I would include them in the book or whatever.

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Fell in love with the movie. And then I found

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out that you had not seen it, and I said, oh,

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you had to sit down and watch this. It's so beautiful,

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it's so you know about yearning and longing, and you know,

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the filmmaking is so gorgeous and they're so gorgeous. So

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then we watched it together and that was the second

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time I watched it. Then I watched it this week

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and I had a totally different read on it, and

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I thought, am I have I changed? Am I become

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more cynical? Or is this actually not a love story?

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And that's kind of what I want to unpack today

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is that it's I went into this this selection for

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this week, thinking, well, we're just going to talk about

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romance and longing and yearning and repression and all that

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other stuff that is in the film. Don't get me wrong,

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and I wouldn't suggest that those characters, mister Chow and

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missus Chan are not in love at certain points during

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the film. But what really struck me watching it this

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time was they're actually more in pain than they are

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in love. They share something, you know, they share something.

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And it was while I was watching them like an act,

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you know, roleplay their partners, where like they were pretending

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to confront their partner or pretending to be their partner

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who while committing adultery. And I'm watching these scenes I'm like,

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this is kind of fucked up what they're doing emotionally.

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They are stuck in this hole where they're enacting all

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of their pain on each other over and over and

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over again. And I don't know how I come down

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on this just yet. Maybe we all come to a

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conclusion by the end of this podcast, but I'm not

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sure they Well, I did say that they are in

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love at certain points in the movie. I don't know

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if that's real love though. Anyway, I'm gonna stop and

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let you give your impression.

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Speaker 2: Well, I had heard about the movie, obviously, because everyone

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talks about it. I mean, the fashion industry is in

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love with this movie, rightly. So yeah, you know, people

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who love movie, they love this movie. And yes, there

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is this whole thing about including TUCM. I was watching

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it and they introduced the movie as one of the

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best love stories you know, in cinema, and so they

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do play that that, you know, play that out like

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it's one of the best love stories. I think it

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is in a way. It's about love, no doubt about it,

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because you know they're both married and they go through stuff. Yeah,

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and they meet each other and they have something in common,

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something they share and they explored that. Yeah, I think

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that's that's pretty much. The movie is absolutely perfection beautiful.

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It's one of the most beautiful movies I've ever seen

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in my life. Yeah, I feel like I'm, you know,

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looking at a fair May painting or something. It's just

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one of those gorgeous things produced. I agree that is perfection.

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I mean, they both look so gorgeous, and.

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Speaker 1: I have never seen two people look so beautiful. The

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only thing I can compare it to is there's a

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movie called, Oh God, what's it called with Elizabeth Taylor

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and Montgomery Clipped. I just had it any Place in

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the Sun A Place in the Sun from nineteen fifty one,

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and by my book, I have always considered that the

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most beautiful couple ever captured on film. If you ever

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have a chance to just google the stills. I'm talking

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to the audience. I'm sorry, if you ever have a chance,

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or if you just want to google the stills. They

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are breath taking. It is Elizabeth Taylor and Montgomery Clipped

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at the height of their beauty. And it's the same

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thing here with Tony Leong and Maggot Chunk, Like there

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are a time story. My god, these two people are

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breath taking.

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Speaker 2: Yes, yeah, they're dressed so beautifully. He looks stunny, his

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hair is flawed. It looks like a goddess. I could

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not stop looking at her the entire time. How can

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you be that gorgeous and perfection? Perfection? Perfect? You're just perfect?

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Speaker 1: You look your hair, you know, the custom the way

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she fells out those oh my god, the way she

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moves her arms and reminding the enselessness of her body.

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Speaker 2: Reminded me a little bit of a bed feast. With

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the two ladies. How they move very gracefully. Everything is

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just gorgeous. She the costumes are beautiful. The costumes were

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designed by William.

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Speaker 1: Chan Yeah, William Chang.

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Speaker 2: Yeah, he worked very closely with the director. They had

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a very clear vision of what they wanted. And it's

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interesting because it's that Chinese dress that most women wore now, yeah,

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and it and which is kind of like one the

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same kind of silhouette and fit, but they they make

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it specially unique by changing the fabrics and adding details.

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Speaker 1: And I mean, the basic dress is exactly the same

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and it's just changed up by fabrics, the different fabric

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fabric choices. So her silhouette remains exactly the same and

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her hairstyle except for when the time period shifts and

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in a little bit later she has longer hair, but

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she has that boufont hairdoo absolutely gorgeous, and it just

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it's just such a it combines so beautifully on her.

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There are other women in the film who have similar

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hairstyles that are wearing the same style of dress, but

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it just doesn't look the same on them as it

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does on her.

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Speaker 2: The story is that it took five hours every day

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to do the hair makeup alone, because yeah, and you

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can see that, and I love that it reflects the

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sixties also it's very Asian but also the sixties, and

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it's just beautiful. She the designer made the custom designan

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I believe forty six dresses. She ended up wearing. How

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many tweets anyone dresses into film.

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Speaker 1: She rarely re wears a dress. She does rewear a

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couple of them, but they're all such blindingly distinct prints

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and colors that every time she changes a dress, it's

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extremely noticeable. Like my film, and it's smart because of

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the style of filmmaking, which has a sort of dreamy

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it's not nonlinear, but it's not exactly. I mean, I

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think it all happens in order, but it sort of

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floats in and out. Things tend to repeat, and the

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only way you know time has passed is by her

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dresses bye bye, because they shift from scene to s the.

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Speaker 2: Core of the movie. According to director, something I read

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is that that's what he wanted, repetition. It's pretty much

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the same emotions played.

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Speaker 1: You know, they are people who are stuck in a

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loose yes, exactly, and so the film very much has

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that quality. And it's very much whenever the plucking cello

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strings happens and they go into a slow motion thing,

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it feels like people, beautiful people who are trapped, but

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they are trapped.

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Speaker 2: I do think they both look incredible, and I think

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that it's funny because one of the bitch and neighbors

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I love her, she says, did she go dressed like

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that to get nudice? Yeah?

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Speaker 1: Yeah, because I mean, because she's always perfect no matter

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where she goes, whatever she does to words, I do

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think sometimes you know this, this is a time and

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a place that is completely alien to me. I cannot

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talk about what Hong Kong in the nineteen sixties was like.

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Their lives would have been, like, however, one car, why

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does remember Hong Kong in the nineteen sixties, and he

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really wanted to recreate that period in that time. So

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I have to rely on my faith in him as

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a director that what he has done is faithful to

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the time and place. On the other hand, I do

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think it gets into a bit of Hollywood style fantasy

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when you look at where they're living and what they

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do for a living. It's kind of hard to reconcile

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that with the fact that they both look like movie

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stars throughout the entire movie, Like how does she look

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like that living in that tiny little aparty? And where

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does he even keep all those trustes?

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Speaker 2: And I think he's aware of that because if you

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look at the walls, the walls are dirty. When you

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know the buzzer, everything, it's dirty and old, right, So

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it's an old building, you know, it's nothing fancy.

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Speaker 1: Rainy alleyway that they needed that is gorgeous. It's all

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crumbling and stare light bulbs. But my god, it looks

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so beautiful. Meaning at the stairs all the time. I mean,

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just her, get Jesus Christ, look at her. I do think, uh,

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director Wong Uh and the cinematographer whose name I don't

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have in front of me, were very deliberately and how

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they shot her. They were very aware of how those

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dresses hug her body. They were very aware of the

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shape of her body. So, you know, it's weird for

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me to be sitting here talking about an actress's body

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in this, but they made it central. And you know,

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she has a long, thin, sinuous sort of body. And

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the way she moves on camera, the way they shot

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her as she moved through, you know, with her her

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pocketbook in the crook of her arm close up and

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you're watching her hips way that is just sexy, sexy,

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sexy as hell without being remotely This is what I'm

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trying to get at. They centered her body on screen

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quite a bit, but I did not feel it was lascivious.

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It's clearly the male gaze at work here. I mean,

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I wouldn't suggest otherwise, but I didn't think it was

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a lacibious framing of her body. It was simply the

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fact that her body looks amazing in those dresses. And

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they are constantly in very close quarters with each other,

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so you're getting close ups on her body, their bodies

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are constantly touching.

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Speaker 2: But I also think their beauty makes a point that

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these two characters are absolutely breathtaking, their gorgeous. Yeah, and

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yet they're being you know, uh, their spouses are cheating,

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are cheating on them. So so it has a point

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there to show that these you know, these people are

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gor She is absolutely I've seen so many incredibly beautiful

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actors male and female on you know, on screen, on screen.

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Speaker 1: But my god, she'll cut to her face every now

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and then every Wow, look at that face. Look at

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how perfect that face.

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Speaker 2: She she is. But he is gorgeous as well. He's

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very beautiful. But she is insane. She Yeah, absolutely, She's

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like a porcelain doll. She's just incredible. All right.

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Speaker 1: Let me say, let me read a quote from one

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car Wide that he gave to La Weekly around the

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time of the film. I think it's very interesting that

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most of the audience prefers to think that this is

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a very innocent relationship. These are the good guys, because

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their spouses are the first ones to be unfaithful, and

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they refuse to be Nobody sees any darkness in these characters,

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and that they are meeting in secret to act out

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fictitious scenarios of confronting their spouses and of having an affair.

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I think this happens because the face of Tony Leung

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is so sympathetic. Just imagine if it was John Malcobits

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playing this role, you would think this guy is really weird.

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And that's the other way I think director Wong uses

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their beauty is to mask that what's happening here is

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not really as it's I don't want to say that

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it's not innocent because it is innocent. I don't think

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they actually He says in certain interviews that they do

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not consummate the relationship, and there was some confusion about

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that because there was a scene where it looked like

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they had, but then they act throughout the rest of

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the film as if they've never even touched each other.

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And he said he has a very loopy, improvisational directing style.

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So they shot for like fifteen months. Maggie Chung. She

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gave an interview at the Toronto Film Festival that year

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where she talks about how pissed off she was working

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with him because he was just constantly they were improvising things,

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the story was shifting. He would do take after take

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after take, and it was very hard. There was no

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hard script for them to work with. I'm pointing this

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out because one of the scenarios that he did shoot

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is that they did have sex. I don't think he

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shot a sex scene, but they shot a scene where

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it was clear. It's clear, and then he decided not

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to use it in the film. He decided not to

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go in that direction. And that's a very interesting way

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of doing filmmaking because it leaves the audience with a

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because he used takes and he said that, he said,

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I used takes where they were acting as two people

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who had had sex.

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Speaker 2: With each other. I can think of a couple of

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a couple.

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Speaker 1: Of scenes where it seemed like they had and then

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later in the film it's like, oh no, they've they've

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never even touched. And I do think that's I guess

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what I'm trying to get out here is that this

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film is probably more impressionistic than it appears at first glance,

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and that even though it is relatively linear storytelling, I

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think I don't think you can take much of the

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I don't think you can take the film entirely literally.

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I guess that's my point. It's impressions of things. It's

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moods of I think it's very telling that the title

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is in the mood for love, which doesn't necessarily imply

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that there's actual love there. It just means you're in

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the mood for it.

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Speaker 2: I think because everything is so secretive, and especially at

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that time, you can tell, you know, you couldn't share

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with the rest of the apartment building that you know,

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their spouses were having an affair. So they they found

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each other and it happened that they were, you know,

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in the same situation. And I think they they kind

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of share that. I do believe that they I think

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it started because I think their relationship because, like I said,

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they had something in common that they shared, and also

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they felt betrayed. I mean, you can tell that they're

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very hurt by by by what, you know, being cheated.

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So so they found each other and they had that

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to talk about and you know, uh and share because

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they couldn't share with anybody else. But at the same time,

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I think they were feeling in attraction to each other obviously,

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I mean it's clear, Uh you can you can see

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the tension, you know, you can feel the tension. So

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it's an it's interest. At the same time, they're trying

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to be mature about it, you know, rational about it. Right,

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It's conflicting.

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Speaker 1: Yeah, all right, why don't we take a short break

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and when we come back, I want to talk a

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little bit about why did their spouses cheat on them?

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Speaker 2: We'll be right back.

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Speaker 1: We're back talking about in the Mood for Love and

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one of the things, you know, the thing we're trying

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to unpack the fact that the idea that this film

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is darker than it appears at first glance, and that.

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Speaker 2: It's a sadder not necessarily you know.

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Speaker 1: Well, no, I think there is a darkness there. I

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do think, and this is kind of what I wanted

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to unpack. It's not the idea that, you know, if

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someone cheats on a spouse, well then they must have

293
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done something to deserve it. But I mean, this is

294
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a film, this is a story, and things are put

295
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in the story that are you know, are there to

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be unpacked. So, and you pointed this out. They're so

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breathtakingly beautiful, it's a little hard to understand why anyone

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would cheat on them. And I do think it's an

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interesting always to not show the spouses.

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Speaker 2: Oh my god, that was brilliant.

301
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Speaker 1: But I do think it gets gimmicky at times because

302
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some of the scenes are staged in a way it's

303
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like you're working too hard to obscure a fire here.

304
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But I think it adds you want to know, like

305
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you want to know what does his wife look like

306
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that that's you know, or what does her husband look

307
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like that he would cheat on her? She's stunning, you know.

308
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And all you're left with is your imagination of, well,

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are they are these other people even more attractive than

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they are or did they come together for reasons other

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than simple attraction?

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Speaker 2: And this is my point.

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Speaker 1: Both of those characters, mister Chow and missus Chan, they

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they live at a remove from everybody around them. They

315
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are not warm with other people. He has his one

316
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friend that he that he takes care of. But she's

317
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very cold. She's very cold to her neighbors, she's very

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cold to her book. She's very removed.

319
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Speaker 2: Never accept an invitation to to have a meal with him, no,

320
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you know, she always says no whatever. So she's that

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side of her.

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Speaker 1: And then there is a very clearly a very darkly

323
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brooding side to him. So my takee and the other

324
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thing about her. I think is interesting is that there

325
00:18:21,319 --> 00:18:23,720
could have been a way to play this character as

326
00:18:24,200 --> 00:18:27,759
a lot more demure than she actually was. But uh,

327
00:18:28,240 --> 00:18:31,759
missus Chan comes off as fairly forceful in terms of

328
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her character.

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Speaker 2: Fairies.

330
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Speaker 1: I would never call her a bitch, like, That's not

331
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how she comes across in the film. But she's she's harsh.

332
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I think there's a harshness to her.

333
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Speaker 2: I think she's asserted, you know, like, I mean, she's she's,

334
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she's she knows what she wants, she's I think she's yeah,

335
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and okay, yeah.

336
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Speaker 1: So she has a sort of a sort of assertiveness

337
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to her, and he has a certain sort of dark,

338
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brooding aspect to him. Right, And I guess what I'm

339
00:19:00,200 --> 00:19:03,039
getting at here is when you look at unrequited love

340
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or love stories that don't pan out, which this one is,

341
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you kind of wonder, well, would it have worked if

342
00:19:11,319 --> 00:19:14,039
they had stayed, if they had made a go for it.

343
00:19:14,519 --> 00:19:18,119
And again, my previous two viewings of this film, I

344
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would have said, absolutely, it's a great love story. Look

345
00:19:20,200 --> 00:19:22,279
at them, They're amazing. But now I watch it and

346
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I think I don't know that that's what the film's

347
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trying to say. I don't know that these two people

348
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would have been any good with each.

349
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Speaker 2: Other, right, but it's very clear to me that they're

350
00:19:32,519 --> 00:19:34,279
very hurt by. They were truer because when they do

351
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their little rehearsal, which threw me off completely, like the

352
00:19:37,799 --> 00:19:42,160
first scene when they're saying goodbye, that the scene is repeated. Yeah,

353
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I was like, what's going on my TV?

354
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Speaker 1: Right?

355
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Speaker 2: Right? I thought it was like, all right, they're showing

356
00:19:46,160 --> 00:19:48,240
the same thing. There's something wrong with my TV. But

357
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then I realized, now they're just rehearsing. And when she cries,

358
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I think that she obviously is very hurt by her husband,

359
00:19:56,400 --> 00:19:57,200
be true, you know.

360
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Speaker 1: Isn't it interesting how she never has these emotions in

361
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front of other people, though she cries when she's alone

362
00:20:02,200 --> 00:20:05,640
because or with him. Because that's true, she did cry

363
00:20:05,720 --> 00:20:09,400
with him. That's because they share something. They share something,

364
00:20:09,480 --> 00:20:10,319
they share the.

365
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Speaker 2: Same emotions, and and so I think that's incredible. I

366
00:20:14,400 --> 00:20:17,559
think that's why they're together. They they kind of like,

367
00:20:17,680 --> 00:20:20,720
you know, found each other because and.

368
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Speaker 1: So do you think they could have been happy together?

369
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Because that's not the part I that's the part I

370
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struggle with.

371
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Speaker 2: It's hard to tell. It's hard to tell, but I

372
00:20:27,240 --> 00:20:31,680
do think they they they they Yeah, they think about it,

373
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they think about being together. I mean that's clear. Uh

374
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and and yeah it's And I love how the film,

375
00:20:39,279 --> 00:20:43,160
the film kind of like betrays you because when she says,

376
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when when they have that scene where she's he says,

377
00:20:47,319 --> 00:20:50,400
I didn't think you, you know, I didn't think you're

378
00:20:50,400 --> 00:20:51,960
gonna fall in love with me or whatever. I thought

379
00:20:51,960 --> 00:20:54,359
it was about them, and then then you find out

380
00:20:54,359 --> 00:20:58,200
it's just And that's when you get like, Okay, this

381
00:20:58,279 --> 00:20:59,359
is fucked up. What you two.

382
00:20:59,799 --> 00:21:03,359
Speaker 1: What they're doing is not healthy for them emotionally. And

383
00:21:03,440 --> 00:21:05,599
I guess that's what I'm getting at most here. It's

384
00:21:05,680 --> 00:21:07,599
not like any therapist would have looked at that and

385
00:21:07,680 --> 00:21:10,559
said you need to stop doing that. It's bad for you.

386
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Speaker 2: But I understand why they did it.

387
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Speaker 1: It's a very human thing.

388
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Speaker 2: I think it's yeah, it's it's yeah, you you wanna

389
00:21:20,200 --> 00:21:22,920
It's not that you. Because even if you don't practice

390
00:21:23,000 --> 00:21:25,200
in reality in life, if you if you know, if

391
00:21:25,200 --> 00:21:28,559
you have a spouse and you going through that situation,

392
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you might not rehearse it, but you think about it

393
00:21:31,279 --> 00:21:32,160
in your head all the time.

394
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Speaker 1: Sure you're playing it over and over again, and they're

395
00:21:34,799 --> 00:21:36,519
just playing it out exactly.

396
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Speaker 2: So I thought it was fantastic. Actually, I was like, wow,

397
00:21:39,599 --> 00:21:44,000
this is really interesting. Not healthy, probably, but interesting.

398
00:21:44,079 --> 00:21:46,519
Speaker 1: So at the end of the film, she is renting

399
00:21:46,720 --> 00:21:52,880
the apartment landlady had uh and she has a child.

400
00:21:53,119 --> 00:21:54,799
Speaker 2: Yeah, we don't know who the father is.

401
00:21:54,880 --> 00:21:59,359
Speaker 1: Well, no, I mean this goes back to I wonder

402
00:21:59,400 --> 00:22:03,200
if the director Wong had originally planned that they would,

403
00:22:03,319 --> 00:22:08,039
because there was originally a scene of them postcoital, if

404
00:22:08,079 --> 00:22:10,359
he was originally going to imply that, but since he

405
00:22:10,400 --> 00:22:13,119
opted not to, and he says in interviews that they

406
00:22:13,119 --> 00:22:16,640
do not consummate, they don't even kiss. So no, that's

407
00:22:16,680 --> 00:22:19,359
not his siety, which means that she stayed with It

408
00:22:19,599 --> 00:22:21,519
more than likely that she stayed with her husband and

409
00:22:21,559 --> 00:22:23,240
had a kid with him.

410
00:22:23,319 --> 00:22:25,960
Speaker 2: Again, that's not very clear because after that point they

411
00:22:26,000 --> 00:22:26,720
never mentioned where.

412
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Speaker 1: This is what I want to point out is that

413
00:22:28,680 --> 00:22:33,799
the spouses completely drop out, and this is his He

414
00:22:33,920 --> 00:22:36,920
chooses to do this as a filmmaker. You make the

415
00:22:36,960 --> 00:22:39,839
point about how you know that's the scene that replayed

416
00:22:39,839 --> 00:22:41,680
and you thought there was something wrong with your TV.

417
00:22:43,079 --> 00:22:46,720
He he wants that sort of dreamy sort of quality

418
00:22:46,759 --> 00:22:49,039
where you can't quite figure out what's going on, and

419
00:22:49,119 --> 00:22:51,079
I think that's very much the case. You don't know

420
00:22:51,119 --> 00:22:54,640
what happened to their spouses. It's implied that she's still

421
00:22:54,680 --> 00:22:58,799
with her husband. No idea what happened to his wife though,

422
00:22:58,920 --> 00:23:01,240
I mean he's in Campbell at the end of the film,

423
00:23:01,440 --> 00:23:06,720
no idea, no end. Very little is made of what happened,

424
00:23:06,759 --> 00:23:09,279
like did he become a writer? Like did he write

425
00:23:09,319 --> 00:23:12,200
more of those uh, you know serials that they were

426
00:23:12,200 --> 00:23:14,240
working on that. That's the other thing. I did think

427
00:23:14,240 --> 00:23:18,599
it was interesting that they they don't consummate their relationship,

428
00:23:18,680 --> 00:23:20,960
but they spend all their time trying trying to write

429
00:23:21,000 --> 00:23:25,359
these little stories together. And again, it's just this feeling.

430
00:23:25,400 --> 00:23:28,960
There's scenes of her, very short brief shots of her

431
00:23:29,759 --> 00:23:33,359
just laboring writing something out, and you can tell she's

432
00:23:33,400 --> 00:23:37,799
passionate about these these types of stories. Uh, And again

433
00:23:37,839 --> 00:23:40,559
it just feels like they're sublimating their own feelings. They're

434
00:23:40,599 --> 00:23:44,240
they're they're not really dealing with the pain that they're feeling,

435
00:23:44,319 --> 00:23:47,720
so they're just writing out these stories. They're working very

436
00:23:47,759 --> 00:23:51,240
passionately on something together, and then it just goes away

437
00:23:51,440 --> 00:23:53,640
and you just don't know what happens with any of it.

438
00:23:53,720 --> 00:23:59,960
Speaker 2: I think the movie also does a very good job showing, uh,

439
00:24:00,119 --> 00:24:04,039
how you react differently to betrayal, like because her boss

440
00:24:04,079 --> 00:24:04,759
is also.

441
00:24:04,880 --> 00:24:08,160
Speaker 1: I know, she's very cold to him, as she would

442
00:24:08,160 --> 00:24:11,079
be I think, but she plays along well, she's kind

443
00:24:11,079 --> 00:24:12,440
of choice, That's what I'm saying.

444
00:24:12,480 --> 00:24:15,279
Speaker 2: Yeah, that's what it means. Very interesting. Yeah, it's very

445
00:24:15,279 --> 00:24:18,640
interesting that she helps her pretty much helps her boss, you.

446
00:24:18,599 --> 00:24:20,359
Speaker 1: Know, by his mistress.

447
00:24:20,440 --> 00:24:22,519
Speaker 2: Yeah. I love the whole thing with the bags and

448
00:24:22,559 --> 00:24:24,759
the ties. Oh my god, I love that. Yeah, I

449
00:24:24,839 --> 00:24:29,119
just love that whole The movie is so chic, so it's.

450
00:24:28,920 --> 00:24:31,079
Speaker 1: So funny to call it sheek when they're living in

451
00:24:31,200 --> 00:24:34,799
like I know, essentially a tenement, the light, in the cinematography,

452
00:24:34,920 --> 00:24:37,920
everything about I just love those scenes in that hallway,

453
00:24:38,000 --> 00:24:40,000
that tiny, tiny, tiny little with the kitchen at the

454
00:24:40,079 --> 00:24:42,000
end of it, where they're all playing with and you

455
00:24:42,039 --> 00:24:45,839
can't even really that's the thing. Everything is partially obscured

456
00:24:45,839 --> 00:24:48,440
in this film. You never get a full full shot,

457
00:24:48,519 --> 00:24:53,319
the whole wide open view of anyone. Everything is constantly obscured.

458
00:24:53,440 --> 00:24:58,279
Faces are obscured, body parts are obscured. What's actually happening

459
00:24:58,400 --> 00:25:02,000
emotionally or physically in a scene is obscure. So it's

460
00:25:02,160 --> 00:25:08,400
all just this very dreamy sort of opague film.

461
00:25:08,440 --> 00:25:12,119
Speaker 2: But it's also playing on the whole not you know,

462
00:25:12,839 --> 00:25:16,240
hiding things right, not being one hundred percent true. No,

463
00:25:16,359 --> 00:25:17,160
I mean that's certain way.

464
00:25:17,160 --> 00:25:18,920
Speaker 1: I had to spend all night hiding in his Oh

465
00:25:19,000 --> 00:25:21,359
my god, yeah, because they were playing my song all

466
00:25:21,480 --> 00:25:23,720
night and it was the neighbors couldn't find out that

467
00:25:23,799 --> 00:25:26,359
it was so repressive and they were so scared. And

468
00:25:26,400 --> 00:25:28,519
she says at one point, you cannot put a single

469
00:25:28,559 --> 00:25:32,839
foot wrong. And I love that because again, this is

470
00:25:32,880 --> 00:25:34,839
not my culture or my time period, so I have

471
00:25:34,880 --> 00:25:36,920
to rely on all right, this, I guess this is

472
00:25:37,000 --> 00:25:37,759
what to remember.

473
00:25:37,839 --> 00:25:40,960
Speaker 2: That's the sixties in Asia. Yeah, I mean, yeah, I.

474
00:25:40,920 --> 00:25:42,359
Speaker 1: Mean very traditional culture.

475
00:25:42,519 --> 00:25:45,279
Speaker 2: Right. So yeah, I loved all of that.

476
00:25:45,400 --> 00:25:49,319
Speaker 1: I loved it because it it showed me a world

477
00:25:49,400 --> 00:25:51,200
that I am not a part of. It showed me

478
00:25:51,240 --> 00:25:54,599
a lifestyle that I have never lived and will never live.

479
00:25:55,799 --> 00:26:00,680
Speaker 2: If nothing else, I she's oh phenomenal. She's such an

480
00:26:00,680 --> 00:26:03,240
incredible action. She dropped out of acting. I know she

481
00:26:03,799 --> 00:26:06,880
made another thing. That's the thing about great acting is

482
00:26:06,880 --> 00:26:09,799
that you create these amazing things, man, and you're just like,

483
00:26:09,880 --> 00:26:12,200
my god, I mean, you should be very proud of

484
00:26:12,240 --> 00:26:15,400
yourself because you created. Yeah, you created something beautiful, icon

485
00:26:15,640 --> 00:26:20,880
of beauty, of fashion and everything. She Oh, her dress

486
00:26:20,960 --> 00:26:23,240
is my god, everything one of them.

487
00:26:24,240 --> 00:26:27,000
Speaker 1: Like I said, I don't think those characters could afford

488
00:26:27,000 --> 00:26:29,559
to have such impact clothing. But it doesn't matter.

489
00:26:29,759 --> 00:26:33,440
Speaker 2: No, she wears a different dress in everything. She doesn't

490
00:26:33,440 --> 00:26:36,920
have an apartment big enough to dresses, but it doesn't matter.

491
00:26:37,079 --> 00:26:39,440
But it's funny how the neighbors point that out. They

492
00:26:39,480 --> 00:26:41,400
talk about her shoes, Oh, a new pair of shoes

493
00:26:41,480 --> 00:26:43,519
or whatever I mean they talk about, which I think

494
00:26:43,559 --> 00:26:44,079
it's funny.

495
00:26:44,519 --> 00:26:44,640
Speaker 1: Uh.

496
00:26:45,160 --> 00:26:47,559
Speaker 2: And it's it's very interesting because there's a hint of

497
00:26:47,799 --> 00:26:52,240
of you know, social awareness and political awareness because you know,

498
00:26:52,400 --> 00:26:54,559
we're talking about British Hong Kong and then and then

499
00:26:54,640 --> 00:26:57,440
the United States. Her daughter moved to the United States.

500
00:26:58,119 --> 00:27:00,640
The neighbor and all that stuff. It's just a little

501
00:27:00,680 --> 00:27:03,599
hint of things here in there buying things in Japan,

502
00:27:03,839 --> 00:27:07,359
like you know they bring the rice, you know, cooker,

503
00:27:07,480 --> 00:27:10,559
all that stuff. Yeah. I just think it's very interesting,

504
00:27:10,759 --> 00:27:15,559
very much of the time of the period. Beautiful, beautiful movie.

505
00:27:15,599 --> 00:27:17,640
My god, it's beautiful and the music is so.

506
00:27:18,000 --> 00:27:22,440
Speaker 1: No the cello, ah playing about.

507
00:27:22,039 --> 00:27:24,720
Speaker 2: Love because you know it doesn't play all the time.

508
00:27:24,759 --> 00:27:26,640
The cello doesn't play all the time. But when it does,

509
00:27:26,680 --> 00:27:29,079
you're like, all right, we're moving again. Yes, it's like

510
00:27:29,119 --> 00:27:33,240
all right, next next move Like it's like the train

511
00:27:33,559 --> 00:27:36,079
is moving again to the next station. I just love it,

512
00:27:36,480 --> 00:27:37,359
love it.

513
00:27:36,680 --> 00:27:40,079
Speaker 1: It's a great little film. It's it's a film that

514
00:27:40,200 --> 00:27:45,279
sticks with you, and I mean it could be frustrating

515
00:27:45,279 --> 00:27:47,720
if you're trying to figure something out.

516
00:27:48,680 --> 00:27:50,880
Speaker 2: Yeah, a lot of people don't like the movie because

517
00:27:50,880 --> 00:27:53,160
they think that, you know, this is it, all right, well,

518
00:27:53,240 --> 00:27:54,640
this is it, this is it.

519
00:27:54,640 --> 00:27:58,119
Speaker 1: It's just this dreamy sort of reflection on two people

520
00:27:58,119 --> 00:28:01,039
coming together for a very brief period in their lives, right,

521
00:28:01,359 --> 00:28:05,440
and not necessarily for the best of reasons, right, And

522
00:28:05,519 --> 00:28:10,680
I like, I think I think people might have had

523
00:28:10,839 --> 00:28:14,880
an easier time with this film if he had made

524
00:28:14,920 --> 00:28:18,200
it clear that he was telling a dark story, not

525
00:28:18,279 --> 00:28:21,319
a love story. But he left that to the audience

526
00:28:21,359 --> 00:28:23,359
to figure out, and it seems to me very few

527
00:28:23,359 --> 00:28:25,440
of them had. And I mean I copto that. I

528
00:28:25,519 --> 00:28:27,720
watched that film twice thinking, oh my god, such a

529
00:28:27,759 --> 00:28:30,000
beautiful love story. And it wasn't until the third time

530
00:28:30,000 --> 00:28:31,400
I watched it, where I was like, oh, I don't know,

531
00:28:31,440 --> 00:28:32,920
these two people are kind of fucked.

532
00:28:32,720 --> 00:28:35,559
Speaker 2: Up, right, But again, we're playing into what he I

533
00:28:35,599 --> 00:28:37,960
think he wanted. The message that he sends as a

534
00:28:38,000 --> 00:28:40,880
director is that you know, are you are we judging

535
00:28:40,920 --> 00:28:42,640
these people? Are we defending you?

536
00:28:42,880 --> 00:28:43,039
Speaker 1: Now?

537
00:28:43,079 --> 00:28:45,640
Speaker 2: I'm saying as a viewer, you have all points of

538
00:28:45,720 --> 00:28:48,000
view about it, right right right, like the neighbors. So

539
00:28:48,680 --> 00:28:51,119
you know, should we judge these people or should we

540
00:28:51,160 --> 00:28:53,759
support them and root for them? You know, there's I

541
00:28:53,759 --> 00:28:56,240
guess it depends depends on how you see betrayal, depends

542
00:28:56,240 --> 00:28:58,519
on how you you know, what you think about it.

543
00:28:58,559 --> 00:29:01,319
You know, how much weight you put you know, that

544
00:29:01,440 --> 00:29:05,359
kind of thing anyway. Yeah, that's what I love about it.

545
00:29:05,160 --> 00:29:08,559
It's up to you as the audience to feel a

546
00:29:08,599 --> 00:29:11,599
certain way, to you know, and see things a certain way.

547
00:29:11,599 --> 00:29:13,880
I mean, if you think that's a big deal or

548
00:29:13,920 --> 00:29:16,759
not a big deal anyway, I.

549
00:29:17,000 --> 00:29:19,599
Speaker 1: We would love to hear your thoughts, yes, whether you

550
00:29:19,640 --> 00:29:21,759
think this was a grand love story or whether you

551
00:29:21,799 --> 00:29:23,759
thought it was a story about two people in a

552
00:29:24,640 --> 00:29:27,240
kind of a screwed up relationship that we're you know,

553
00:29:27,319 --> 00:29:31,200
and in pain, or maybe it's not such a binary

554
00:29:31,279 --> 00:29:33,440
choice either way, we'd love to hear what you think.

555
00:29:34,160 --> 00:29:37,400
We'll be back on Monday or Tuesday, I'm not sure

556
00:29:37,440 --> 00:29:41,079
which one, with a look at several TV series and

557
00:29:41,160 --> 00:29:43,720
a recounting of our recent trip, and then we'll be

558
00:29:43,799 --> 00:29:47,079
back next week for the next b k MC, where

559
00:29:47,119 --> 00:29:48,960
we will be watching a film that I did not

560
00:29:49,200 --> 00:29:51,000
like much the first time I saw it, which was

561
00:29:51,000 --> 00:29:54,000
a Little Miss Sunshine. Until then, take care of yourself,

562
00:29:54,079 --> 00:29:54,720
love you mean it.

563
00:29:54,759 --> 00:29:55,559
Speaker 2: Bye bye bye, bry