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Speaker 1: What kind of a show you guys putting on here today?

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Speaker 1: You're not interested in armed now? No, look, we're going

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Speaker 1: to do this thing. We're going to have a conversation

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Speaker 1: a film spotters Adam and Josh here. You know, the

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Speaker 1: Film Spotting Archive has reviews, top fivees and more going

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Speaker 1: back to two thousand and five, and access to that

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Speaker 1: archive is just one of the benefits you get as

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Speaker 1: a Film Spotting family member. We are sharing our discussion

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Speaker 1: of In the Mood for Love from our One Car

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Speaker 1: Why marathon back in twenty twenty one. Why well, there

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Speaker 1: are many reasons, including it's the film's twenty fifth anniversary,

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Speaker 1: and Josh, it did clock in a number four on

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Speaker 1: the New York Times list of the best movies of

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Speaker 1: this Century so far.

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Speaker 2: Heartening for me to see that, because I had it

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Speaker 2: even higher Adam when we did that list on the

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Speaker 2: show right there at number one. For me, my favorite

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Speaker 2: film is the Century so Far. Now for Chicago listeners,

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Speaker 2: Wang's film is playing at the Music Box Wednesday and

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Speaker 2: Thursday this week, so that's July sixteen and seventeen if

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Speaker 2: you want to see it there on the big screen.

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Speaker 2: So let's get to it. Our review of In the

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Speaker 2: Mood for Love.

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Speaker 1: In the Mood for Love debuted at the two thousand

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Speaker 1: and can Film Festival, where it was nominated for the

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Speaker 1: Palm Door and start Tony Leung won the fests Best

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Speaker 1: Actor Prize. It opened here in the States in March

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Speaker 1: two thousand and one to pretty universal critical acclaim. But

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Speaker 1: maybe this is something we can talk a little bit about, Josh.

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Speaker 1: My feeling is that its reputation has only grown over

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Speaker 1: the last twenty years. For example, back at the end

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Speaker 1: of the last decade, in late two thousand and nine,

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Speaker 1: the Guardian had In the Mood for Love as its

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Speaker 1: forty eighth best film of the decade. Fast forward ten

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Speaker 1: years late later, for a Best Films of the twenty

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Speaker 1: first Century list, mood had moved up all the way

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Speaker 1: to number five. And then in twenty sixteen, the BBC

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Speaker 1: pulled over one hundred critics for a Best Movies of

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Speaker 1: the twenty first Century list, and In the Mood for

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Speaker 1: Love landed at number two, right behind No Real Surprise

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Speaker 1: to Me, My Beloved Mulholland Drive from director David Lynch,

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Speaker 1: another film that has probably only grown in esteem over

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Speaker 1: the years. Quickly the plot It's set in early nineteen sixties,

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Speaker 1: Hong Kong sort of picks up where Days of Being

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Speaker 1: Wild left off. Josh, It's part of an informal trilogy

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Speaker 1: with that film and Wong's later film twenty forty six.

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Speaker 1: Tony Leung and Maggie Chung are neighbors in a cramp

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Speaker 1: boarding house. They're both married, they're both lonely, and they

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Speaker 1: soon realized that their spouses are having an affair with

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Speaker 1: each other. Leung and Chung bond over this betrayal and

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Speaker 1: eventually do get quite close, but never act on their

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Speaker 1: feelings for each other, this being a wong Y movie

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Speaker 1: after all, Josh, give us a little bit of your

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Speaker 1: history within the Mood for Love and how did it

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Speaker 1: play this time for you in the context of the marathon.

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Speaker 1: I feel like you Dean Happy Together, the last movie

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Speaker 1: we discussed as the high point of the marathon so far,

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Speaker 1: maybe even rated it slightly higher than Chunking Express. Have

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Speaker 1: we gone to yet another level here within the Mood

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Speaker 1: for Love?

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Speaker 2: For me?

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Speaker 1: Yes?

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Speaker 2: And I think you know, thinking back on when I

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Speaker 2: first saw this, it's a little murky for me because

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Speaker 2: I've seen it a handful of times since two thousand

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Speaker 2: but it wouldn't have been within the first you know,

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Speaker 2: six months or year of its release, probably because I've

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Speaker 2: never written about it. I didn't have it on my

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Speaker 2: top ten list that year, which I know. We had

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Speaker 2: some fun at trivia spotting with my two thousand top

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Speaker 2: ten lists. All of them are suspect, but trust me,

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Speaker 2: I would not have overlooked this if I had seen

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Speaker 2: it in time. Why I didn't see it within that

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Speaker 2: first year, I can't remember or really explain, but I

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Speaker 2: remember seeing it fairly soon after loving it then and

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Speaker 2: just loving it more the time or two I saw it.

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Speaker 2: Since it's been a few years now, and yeah, I think,

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Speaker 2: you know, if it's reputation isn't any stronger than it

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Speaker 2: was initially, it has certainly you cited those lists that

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Speaker 2: it's made. It's certainly fended off a lot of comers

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Speaker 2: in the years since it's been released to still stand

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Speaker 2: as a monumental achievement, not only you know, for Wong,

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Speaker 2: but cinema itself, and as far as Wang's filmography goes,

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Speaker 2: I do think it's the pinnacle. I think at this

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Speaker 2: point I only have one long film left that I

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Speaker 2: need to see, my Blueberry Nights but I don't think

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Speaker 2: that's going to knock this off. Maybe the Happy Together

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Speaker 2: distinction for me is that it's just so assured and

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Speaker 2: confident and a little I'm trying to think of the

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Speaker 2: right phrase that doesn't sound like I'm dismissing the previous films,

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Speaker 2: which I've loved. But a little calmer, a little less forced,

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Speaker 2: isn't the right word, because if you think about restraint,

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Speaker 2: it's all about restraint, and the filmmaking matches that. So

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Speaker 2: if you think about, you know, what we had early

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Speaker 2: on in something like Fallen Angels and the anticness of

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Speaker 2: that which was really compelling or chunking express those pop

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Speaker 2: song rhythms, which I loved. All of those flourishes are

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Speaker 2: strengths of Wong's filmmaking and his previous films. But here

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Speaker 2: you just get something that is dialed down a little bit.

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Speaker 2: Even from Happy Together, I would argue, because you know,

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Speaker 2: Happy Together has those black and white segments, maybe a

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Speaker 2: little more ostentatious use of the camera here or there.

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Speaker 2: In terms of slow motion, I think it's very familiar

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Speaker 2: from Happy Together. Happy Together is the close. It's like,

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Speaker 2: this is just one step further in terms of the

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Speaker 2: esthetics from Happy Together, and it's a it's a perfection

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Speaker 2: of what he was working on in film. I think. So,

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Speaker 2: you know, I don't want to waste a lot of time,

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Speaker 2: you know, saying why it's better than these other wonderful films.

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Speaker 2: I just love this movie so much. On another revisit,

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Speaker 2: it's one that you might think, Okay, there isn't a

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Speaker 2: ton of plot here, so how many times can you

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Speaker 2: watch this before there might not be enough to engage in. Well,

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Speaker 2: you know, there'll be a new lamp in the background

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Speaker 2: that you'll engage with this time because you have the

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Speaker 2: time now to just sit and appreciate why that lamp

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Speaker 2: was chosen, where it's placed in the shot, what colors

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Speaker 2: it's it's reflecting or working with. How the typewriter in

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Speaker 2: this scene perfectly matches Maggie Chung's dress and all this there.

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Speaker 1: Maybe you just didn't pay attention to a certain dress

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Speaker 1: the third six four, Yeah, yeah, there's Yeah.

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Speaker 2: This is so rich that it's open endless viewings, and

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Speaker 2: I certainly enjoyed this most recent one I had.

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Speaker 1: Yeah, I'm with you, And when we do ultimately finish

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Speaker 1: this marathon, we will culminate with our World of One

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Speaker 1: Car Why Marathon Awards, and we were looking for a name,

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Speaker 1: and a listener on Twitter responded to us, and I

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Speaker 1: won't get it right. I couldn't find it, So I

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Speaker 1: apologize to the listener. Maybe you can find it, Josh,

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Speaker 1: who threw out this suggestion, but we will definitely mention

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Speaker 1: you when we get to those awards. They said, you know,

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Speaker 1: you guys keep talking about Tony Leung and how great

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Speaker 1: he is and how he's the unsung kind of master

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Speaker 1: collaborator of this marathon. Maybe unsung's not quite the right

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Speaker 1: word because we keep talking about him. The suggestion was

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Speaker 1: maybe we should call, cheekily, we should call the awards

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Speaker 1: the Tony's and I know we both like that idea

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Speaker 1: a lot. But of course, now you watch in the

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Speaker 1: Mood for Love and I start to question whether or

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Speaker 1: not it's really Tony Leong, because maybe it's Maggie Chung

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Speaker 1: who's been in multiple films so far, or what about

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Speaker 1: Christopher Doyle, who I think has lensed all of the

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Speaker 1: movies so far. And maybe my real answer as far

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Speaker 1: as who is the MVP, the MVP collaborator, the MVC

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Speaker 1: will go with Josh William Chang as the costume designer

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Speaker 1: and the production designer. Here I mean well, and.

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Speaker 2: That's interesting because those things work so well together. As

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Speaker 2: I was already hinting at that, it makes perfect sense

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Speaker 2: that the same eye is behind.

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Speaker 1: Both absolutely, and Chang was at least the production designer.

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Speaker 1: I don't have his IMDb yet, but he was at

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Speaker 1: least the production designer on every other film in this marathon.

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Speaker 1: And we have talked about it a lot. I'm with you, though,

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Speaker 1: this is just this is perfection. This is a perfect

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Speaker 1: end to this marathon. Beyond some of those stylistic flourishes

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Speaker 1: and the design and the costume design we're touching on,

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Speaker 1: this is the ultimate expression of all of the key

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Speaker 1: themes and concerns we've discussed so far. Loneliness. When you

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Speaker 1: think about it, how this relationship, if we can really

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Speaker 1: call it that, how it starts is that these are

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Speaker 1: just two people who needs somebody to talk to. That's

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Speaker 1: really it, right, They are so alone and this idea

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Speaker 1: of having unfulfilled desire or hopeless love, whatever terminology you

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Speaker 1: want to apply to his films, And we've talked about

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Speaker 1: how rarely in this marathon we've actually seen sexual passion

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Speaker 1: or explicit eroticism. Well, here I mentioned the whole film

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Speaker 1: was about restraint. It's all built around the conceit of

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Speaker 1: Chow and missus Chan not acting on their feelings right

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Speaker 1: and maintaining these appearances of propriety. And I've noted that

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Speaker 1: Wong seems preoccupied with the notion that love is really

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Speaker 1: only good when it's not realized, or maybe to put

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Speaker 1: a finer point on it, when it's not consummated. And

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Speaker 1: the Chinese version, or one version of this movie's title,

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Speaker 1: at least according to the Criterion Collection edition notes, is

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Speaker 1: kind of like the Most Beautiful Times, And if you

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Speaker 1: think about it, it's so appropriate, of course, because at

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Speaker 1: the end of this movie, aren't they both trying to

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Speaker 1: kind of recapture their past to an extent, or at

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Speaker 1: least parts of it, even if they have no intentions

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Speaker 1: of actually seeing each other again. They're romanticizing this time

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Speaker 1: of their life, despite the fact that it's one in

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Speaker 1: which both of their spouses were cheating on them and

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Speaker 1: they had to completely withhold their feelings for each other.

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Speaker 1: I also think that the title transitions perfectly to the

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Speaker 1: next obsession, and it's that use of the words kind

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Speaker 1: of like Wong's characters love to act, to play, pretend,

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Speaker 1: to create scenarios, and to try on other roles in

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Speaker 1: order to try to process their feelings and their understanding

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Speaker 1: of the world. And we see these characters here actually

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Speaker 1: kind of trace the steps of their spouses and they

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Speaker 1: play out and discuss how he's acting like her husband,

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Speaker 1: and vice versa. And that line, how devis stating and

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Speaker 1: great a line is Maggie Chung's we won't be like them.

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Speaker 1: She says it's so matter of factly, but it's almost

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Speaker 1: as if she by saying it is making it so.

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Speaker 1: It's this directive that she's putting out into the world,

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Speaker 1: and there's just a little bit of hesitation maybe or

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Speaker 1: her being unsure when she says that line. But it's

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Speaker 1: just devastating because you immediately understand that motivation of not

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Speaker 1: wanting to be like these spouses who have made them

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Speaker 1: feel this way, and of course you understand the consequences

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Speaker 1: of that directive as well, saying will be will be

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Speaker 1: better than them, basically, even if it means we're worse off,

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Speaker 1: even if it means we have to pretend this very

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Speaker 1: real thing is not real, and it's just a fantasy

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Speaker 1: to us. So they're driven maybe by morality to an extent,

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Speaker 1: and also perhaps masochism, but that kind of masochism is real.

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Speaker 1: That feeling is real and intense and maybe more intense

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Speaker 1: and something more transcendent than actually succumbing to your desires.

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Speaker 1: At least that's what they hope, and at least that's

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Speaker 1: what it seems Wang is exploring here.

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Speaker 2: Yeah, I don't know how much actual pleasure they get

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Speaker 2: from it, but they are inflicting more pain on themselves

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Speaker 2: than necessary, not only by just being together, but by

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Speaker 2: the role plane that you're talking about. And Chung has

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Speaker 2: another devastating line and we're going to be citing two

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Speaker 2: lines here. Even though there isn't a lot of dialogue

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Speaker 2: in this movie. I think a lot of the exquisite

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Speaker 2: work is done without dialogue. But there is another role

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Speaker 2: plane sequence where she's imagining her husband confessing mister Child's

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Speaker 2: playing the husband here, and she just breaks down when

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Speaker 2: he does and says, I didn't expect it to hurt

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Speaker 2: so much. And what that reveals is that you know

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Speaker 2: they've been doing this role plane as a way of

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Speaker 2: building up defenses, as a way of not facing the

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Speaker 2: reality and at that point it all falls apart. Oh yeah,

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Speaker 2: money Kundos. I think she is so magnificent in this

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Speaker 2: movie because she's she has even more reticence than Leung does,

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Speaker 2: at least her character missus Chan. I love going back

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Speaker 2: to the dresses here. It's it's built into the costume

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Speaker 2: design because these are these I think there are Chung

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Speaker 2: Sam dresses. So the neck, the very high neck, and

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Speaker 2: it's it's like there's this wall actually built around her

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Speaker 2: under her chin, just keeping things out. And that sequence

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Speaker 2: is where it does just does all come. It invades,

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Speaker 2: like the hurt invades, and we see it on her face.

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Speaker 2: This is where you know, the implacable expression. We've seen

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Speaker 2: her have so much, even even to mister Child. You

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Speaker 2: know she only lets him in so far. It does

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Speaker 2: come crashing down here, and it echoes a later scene

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Speaker 2: years later where she's just standing by. She revisits the

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Speaker 2: apartment complex and is just standing by a window and

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Speaker 2: you see her forcing down those exact same tiers. So

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Speaker 2: I think Cheung is amazing in this and it's hard

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Speaker 2: to talk about them separately because this is one of

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Speaker 2: those paired performances where what one does helps the other.

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Speaker 2: In the performance, they have this you know, they're in

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Speaker 2: perfect rhythm. Her reticence is in perfect rhythm with Leung's

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Speaker 2: reserve because he is kind of tapping into something we've

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Speaker 2: seen before. I think he has more of the resigned

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Speaker 2: melancholy we saw as the beat cop in Chunking Express

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Speaker 2: than he did in Happy Together, there was more of

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Speaker 2: a spurned anger. I think here he's more back to

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Speaker 2: this resigned melancholy. I like how he claims at one

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Speaker 2: point that he doesn't brood over his wife's infidelities, and

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Speaker 2: his friend says, well, all that means is that you're

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Speaker 2: quote bottled up right, and so so this is more

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Speaker 2: costume design coming into play. His immaculate suits, his perfectly

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Speaker 2: combed hair that alsuggests, yeah, he's not rough armor, but

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Speaker 2: it's an armor. Yeah, he's pretending not to be ruffled

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Speaker 2: by this. But watch Leung's eyes and this goes back

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Speaker 2: to the you know we don't need dialogue, how they

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Speaker 2: change every time he looks at her, at missus chand

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Speaker 2: it's like a there's some panicked longing there because he

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Speaker 2: it's reminding him of what he's suffering. It's also reminding

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Speaker 2: him of the pledge they made together, and how he

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Speaker 2: really doesn't want to stick to that, because I think

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Speaker 2: he makes more moves watching this again than she does

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Speaker 2: to kind of break that pledge. He's always respectful, but

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Speaker 2: he opens the door or at least knocks on the

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Speaker 2: door a couple of times, and you see that in

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Speaker 2: his eyes as well. So these two are just so

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Speaker 2: perfectly in sync in this film that you can't imagine

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Speaker 2: it working at all without one of them if you

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Speaker 2: substitute a different actor.

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Speaker 1: Yeah, to your point, isn't it his hand We see

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Speaker 1: one or two times reaching for hers, I believe, so

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Speaker 1: it's never hers reaching for his. But you mentioned that

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Speaker 1: scene the role playing with the confrontation about the infidelity,

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Speaker 1: and what I love about the two big scenes that

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Speaker 1: I would call not just role playing scenes but rehearsal scenes,

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Speaker 1: or that Wong really employs some fabulous misdirection to just

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Speaker 1: add an extra bit of charge to the scene for

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Speaker 1: the viewer. So in that scene, because he has made

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Speaker 1: a decision from the very beginning to veil the spouses,

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Speaker 1: we never see them, we hear them. They're behind closed doors,

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Speaker 1: sometimes they're on the other side of a wall. We

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Speaker 1: see the backs of their head, but we never actually

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Speaker 1: see them. That means that when she is seated there

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Speaker 1: and we're looking at her seated to the side and

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Speaker 1: he is directly in front of us with his back

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Speaker 1: turned to the camera as he sits, there's a second

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Speaker 1: where I felt, anyway that oh, the husband's returned and

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Speaker 1: she's actually she is confronting him, And of course it

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Speaker 1: turns out that it's not. It's the rehearsal. It's the

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Speaker 1: rehearsal of that confrontation, and she gets to act through

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Speaker 1: it and see and experience those emotions with Tony Leung.

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Speaker 1: And then near the end what seems to be their breakup.

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Speaker 1: It's the moment where you think they have finally decided

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Speaker 1: that this surely isn't going to work. What is inevitable,

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Speaker 1: what they even know is inevitable, that they're never going

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Speaker 1: to come together. So they say goodbye to each other,

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Speaker 1: and we as viewers, at least I did, Josh Again,

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Speaker 1: maybe I wasn't paying close enough attention. I was watching

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Speaker 1: the thinking, oh man, this is it, this is the goodbye,

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Speaker 1: and then to find that Leung basically says, no, remember

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Speaker 1: that's just the rehearsal, you know, that's just the practice.

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Speaker 1: We still we still get to be with each other

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Speaker 1: for at least a little while longer. It's really powerful,

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Speaker 1: and I think there's really something powerful to that whole

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Speaker 1: notion of cinema, I think being this tool. I've argued

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Speaker 1: this before, cinema being a tool for us as viewers

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Speaker 1: to rehearse how we engage with the world. We see

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Speaker 1: how other people act and behave in situations that we

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Speaker 1: have seen ourselves in, or imagine ourselves could be in,

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Speaker 1: or maybe imagine that we could never handle, and we

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Speaker 1: see how they go through it, and maybe it informs

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Speaker 1: our sense of the world. Well, Now, imagine if you

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Speaker 1: were a filmmaker like Wankar, why who is not only

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Speaker 1: a passive viewer, but you're the one who's getting to

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Speaker 1: sort of act out. You're getting to rehearse, You're getting

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Speaker 1: to stage these scenes and act out your deepest fears

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Speaker 1: and longings through these mini plays within this larger construct.

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Speaker 1: It's just something that really appeals to me. And I don't

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Speaker 1: know if I've said it before in this marathon, but

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Speaker 1: that infatuation with role playing, I imagine is a reason

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Speaker 1: why whether he's articulated it or not, I don't know

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Speaker 1: why Quentin Tarantino has always been such a fan of

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Speaker 1: One Car, why because they share that same obsession.

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Speaker 2: So we're both talking with you know, fair confidence about

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Speaker 2: the nature of this relationship and how it ends up.

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Speaker 2: And it's interesting because just before we start recording here,

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Speaker 2: I had a comment from a listener on my letterbox

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Speaker 2: logging of watching this movie Warner West, who basically has

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Speaker 2: a question for us about the ending. So maybe we'll

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Speaker 2: return to that, and it happens to involve how we

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Speaker 2: understand their relationship, So remind me that we'll return to it.

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Speaker 2: Speaking of listeners, yes, it was Ellen Chesher at c

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Speaker 2: H E s H E l l E N on

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Speaker 2: Twitter who suggested the Tonys, which is just so good, fantastic.

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Speaker 2: So I think we've probably covered the performances, even though

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Speaker 2: there's maybe more we could say, but definitely highlights. I

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Speaker 2: want to jump back to the filmmaking and just talk

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Speaker 2: about some of these mood moments that we get in

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Speaker 2: this film where I'm afraid by my talking about this

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Speaker 2: being a more reserved movie for someone who hasn't seen it,

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Speaker 2: they might think it's more conventional than his other pictures,

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Speaker 2: and it's absolutely not like this is this is pure

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Speaker 2: wankhar why because we get these mood moments, including the

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Speaker 2: montage of them passing each other on the way to

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Speaker 2: the noodle stall maybe my favorite sequences in the film.

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Speaker 2: It's something that is recurring. It kind of at first

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Speaker 2: shows us their loneliness. They're going out to get dinner

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Speaker 2: because they are not going to cook it for someone else.

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Speaker 2: There's no one else home. They're each in this situation

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Speaker 2: and they pass each other a handful of times. And

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Speaker 2: this is where the slow motion comes into play. This

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Speaker 2: is where that theme music, the shagiro Umbayashis Yumeggi's theme

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Speaker 2: comes into play. And even that is interesting, you know

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Speaker 2: how it has these lilting violins to it. It's it's

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Speaker 2: somewhat similar to the tango music we heard and happy

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Speaker 2: to ge other, but also it seems like even a

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Speaker 2: step back from that in terms of its pace and

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Speaker 2: its rhythm. And it's just the slow motion in here

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Speaker 2: is also very judicious. Sometimes it's raining when they're doing this.

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Speaker 2: That adds another level to it. And those I could

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Speaker 2: have watched them go back and forth to get their

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Speaker 2: noodles for the entire running time of this movie. Just

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Speaker 2: for the little variations each time and where the camera is,

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Speaker 2: how much lighting is allowed in that stairway so that

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Speaker 2: they can not really see each other's faces. The next time,

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Speaker 2: maybe they do see each other's faces a little bit more.

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Speaker 2: And it's all these imperceptible changes that are so important,

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Speaker 2: And that is where the emotional element of this just

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Speaker 2: hits me the hardest. It's like you're watching these two

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Speaker 2: halves of a broken heart throb when they pass each other,

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Speaker 2: and it captures everything that you need to know about

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Speaker 2: where they are at in that moment, and it carries

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Speaker 2: through past where they even go together. So that's that's like,

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Speaker 2: that's what their time together was, passing each other on

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Speaker 2: those stairways, even if they do end up becoming a

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Speaker 2: little closer later.

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Speaker 1: I mentioned the veiling technique with the spouses. Everything is

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Speaker 1: so secretive here and Wong has so much fun, I

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Speaker 1: would say with that tension. As I was jotting down

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Speaker 1: some notes when I noticed this the first maybe one

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Speaker 1: or two times, I posed a question to myself, Josh,

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Speaker 1: you're an expert film critic and note taker. Do you

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Speaker 1: do you sometimes just write questions to yourself that you

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Speaker 1: know you need to return to you don't know the

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Speaker 1: answer to, but you know you need to return to them. Yeah, sure, sure,

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Speaker 1: so I wrote down why does the camera hide?

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Speaker 2: Oh? I love that, I love that touch.

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Speaker 1: And as you it's always down a hall right. Yeah,

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Speaker 1: as you keep watching the film, you realize even the

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Speaker 1: camera in the mood for love has to steal glances.

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Speaker 1: The view was always through a reflection in a mirror,

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Speaker 1: or it's under the table, or it's through a window,

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Speaker 1: or it's through a curtain, or it's through a curtain

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Speaker 1: of smoke. Talk about a movie that makes smoking look

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Speaker 1: so glamorous. The way Christopher Doyle's camera captures that haze

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Speaker 1: is really pretty magnificent. And just in general, how many

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Speaker 1: times do we see them obscure To go back to

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Speaker 1: your point too, about the lighting and as they pass

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Speaker 1: each other, it's as if you are eavesdropping on them.

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Speaker 1: It's as if you are there in the hallway, that

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Speaker 1: cramped hallway. Again, it's long relying on a very close technique,

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Speaker 1: not a lot of master shots though, of course, when

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Speaker 1: we get on the street, and there are some elements

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Speaker 1: to the production design where we do kind of take

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Speaker 1: in the expanse of the scene but especially when they're indoors,

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Speaker 1: when they're in those apartment settings, when they're moving in together,

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Speaker 1: he's really emphasizing how close they are. You're always seeing

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Speaker 1: them in a medium shot or medium close up or

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Speaker 1: a close up, so that eavesdropping sort of effect adds

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Speaker 1: to that tension. But then how about this, I'm gonna

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Speaker 1: ask you a question here, Josh, And I think the

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Speaker 1: fact that there may be isn't one answer or one

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Speaker 1: go to answer for one hundred people you pose this

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Speaker 1: question to helps signify just how special this movie is.

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Speaker 1: But if I asked you, let's skip romantic gestures for now.

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Speaker 1: We're gonna get to that eventually. And there are multiple

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Speaker 1: in this film, and there's one really amazing one that

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Speaker 1: did in fact make your top five from this movie

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Speaker 1: back in twenty thirteen. But when we do talk about eroticism,

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Speaker 1: something something close to sexiness, true sultry sexiness in this film,

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Speaker 1: something that actually kind of radiates some real intensity. Do

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Speaker 1: you have a moment like that from this movie?

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Speaker 2: That one that I jotted down? So my three seconds

430
00:25:01,800 --> 00:25:04,960
Speaker 2: response is maybe a strange one. But how about when

431
00:25:04,960 --> 00:25:09,640
Speaker 2: he says, then I'll spend some time with you here,

432
00:25:09,800 --> 00:25:12,359
Speaker 2: Then I'll wait it out here. When she is caught

433
00:25:12,359 --> 00:25:16,679
Speaker 2: in the rain in the alley under a light, doesn't

434
00:25:16,680 --> 00:25:19,119
Speaker 2: want to get that dress wet, which I completely understand.

435
00:25:19,200 --> 00:25:21,920
Speaker 2: So she's kind of, you know, under an awning, and

436
00:25:22,000 --> 00:25:26,480
Speaker 2: he comes. It's kind of that whole sequence. Actually he's

437
00:25:26,480 --> 00:25:29,199
Speaker 2: coming from another direction, sees her. He's running in his

438
00:25:29,240 --> 00:25:31,760
Speaker 2: suit in the rain, ducks under the awning. Next door,

439
00:25:32,280 --> 00:25:34,520
Speaker 2: offers his jacket to her. She says, we can't go

440
00:25:34,600 --> 00:25:37,320
Speaker 2: in together, or if they see your jacket they'll know.

441
00:25:37,800 --> 00:25:40,240
Speaker 2: He runs and gets an umbrella, brings it back. She says,

442
00:25:40,240 --> 00:25:43,520
Speaker 2: I can't take your umbrella. So after all these romantic gestures,

443
00:25:43,600 --> 00:25:46,639
Speaker 2: he finally just says, and I wish I could remember

444
00:25:46,680 --> 00:25:48,840
Speaker 2: the words, but then I'll just be here with you

445
00:25:49,000 --> 00:25:51,359
Speaker 2: and leans back against the wall. And I love the

446
00:25:51,359 --> 00:25:55,680
Speaker 2: next beat silence that they don't say anything to each other,

447
00:25:56,520 --> 00:25:59,040
Speaker 2: and they just that to me. I don't know why,

448
00:25:59,400 --> 00:26:05,160
Speaker 2: is like credibly sexy. They're just completely comfortable sitting there.

449
00:26:05,040 --> 00:26:07,800
Speaker 1: To gaxy for Josh Larson, there you go, what.

450
00:26:08,000 --> 00:26:08,680
Speaker 2: What did you just say?

451
00:26:08,920 --> 00:26:12,359
Speaker 1: I think you just miss character sexy. Well I just

452
00:26:12,440 --> 00:26:14,320
Speaker 1: think it's yeah, I don't know why.

453
00:26:14,359 --> 00:26:17,000
Speaker 2: There's just something about that shared moment that they have

454
00:26:17,080 --> 00:26:18,760
Speaker 2: together where nothing else needs to be said.

455
00:26:19,080 --> 00:26:21,280
Speaker 1: Okay, well I'm gonna give you mine, Okay. I think

456
00:26:21,320 --> 00:26:26,359
Speaker 1: it's during the dinner that is really their first true

457
00:26:26,520 --> 00:26:31,000
Speaker 1: role playing excursion, kind of a date where they are

458
00:26:31,240 --> 00:26:36,200
Speaker 1: taking on the characters of their spouses or the other's spouse.

459
00:26:37,080 --> 00:26:41,320
Speaker 1: And there's a moment where we see and the camera

460
00:26:41,560 --> 00:26:44,639
Speaker 1: really does emphasize it because it cuts to as I recall,

461
00:26:44,800 --> 00:26:48,000
Speaker 1: cuts to Tony Leung's hand as he grabs what I

462
00:26:48,000 --> 00:26:51,919
Speaker 1: think is probably some hot mustard, and then it follows

463
00:26:52,000 --> 00:26:54,840
Speaker 1: him as he puts it on her plate. Now, even

464
00:26:54,880 --> 00:26:58,640
Speaker 1: before this, I'll just mention, when we're talking about technique,

465
00:26:58,720 --> 00:27:02,679
Speaker 1: this is a movie where the camera is mostly pretty still.

466
00:27:03,359 --> 00:27:07,119
Speaker 1: We've talked about how restrained overall the I where.

467
00:27:07,000 --> 00:27:08,840
Speaker 2: You're going is I love this camera move.

468
00:27:09,240 --> 00:27:11,160
Speaker 1: Yeah. But then all of a sudden, just in this scene,

469
00:27:11,200 --> 00:27:13,200
Speaker 1: there's a couple of quick pans between them.

470
00:27:13,240 --> 00:27:16,240
Speaker 2: It's almost like a slide right, It slides like from

471
00:27:16,280 --> 00:27:19,359
Speaker 2: behind them right up next to them, which is exact,

472
00:27:19,400 --> 00:27:22,000
Speaker 2: as you're saying, like very ostentatious compared to what we've

473
00:27:22,000 --> 00:27:22,480
Speaker 2: been getting.

474
00:27:22,800 --> 00:27:27,160
Speaker 1: But I think it helps just add some electricity. Yes,

475
00:27:27,480 --> 00:27:30,800
Speaker 1: to a scene in a moment that seems like it

476
00:27:30,840 --> 00:27:34,720
Speaker 1: otherwise might be fairly I don't know, harmless. And then

477
00:27:34,760 --> 00:27:37,960
Speaker 1: we get that moment when he he dabs the mustard

478
00:27:38,000 --> 00:27:42,199
Speaker 1: on her plate, and you see her considerate, and just

479
00:27:42,240 --> 00:27:45,159
Speaker 1: in that consideration, in her silence, I think it's pretty

480
00:27:45,160 --> 00:27:48,199
Speaker 1: clear to us that this isn't maybe something that she

481
00:27:48,240 --> 00:27:51,280
Speaker 1: would normally eat. She clearly didn't grab it on her

482
00:27:51,280 --> 00:27:53,119
Speaker 1: own and put it on her plate to eat with

483
00:27:53,320 --> 00:27:56,640
Speaker 1: whatever she's eating. But he has put it on her

484
00:27:56,680 --> 00:27:59,760
Speaker 1: plate for her, and she hesitates, and then what does

485
00:27:59,800 --> 00:28:03,399
Speaker 1: she do? She dips her entree into it and then

486
00:28:03,480 --> 00:28:07,879
Speaker 1: eats it as voraciously as as Maggie Chung does anything

487
00:28:07,960 --> 00:28:10,639
Speaker 1: voraciously in this movie. But I swear to you, Josh,

488
00:28:10,680 --> 00:28:15,320
Speaker 1: at the exact moment, I'm thinking to myself, while that

489
00:28:15,440 --> 00:28:20,520
Speaker 1: was hot? He says, do you like it hot? And

490
00:28:20,880 --> 00:28:24,320
Speaker 1: and let's be clear, Tony Leung is not Roger Moore.

491
00:28:25,200 --> 00:28:28,240
Speaker 1: I don't know that there's any double on Tondra intended.

492
00:28:28,680 --> 00:28:30,920
Speaker 1: There's nothing winking about his performance.

493
00:28:30,920 --> 00:28:33,040
Speaker 2: He doesn't need he doesn't need double on Tandra's.

494
00:28:33,200 --> 00:28:35,280
Speaker 1: No, he really doesn't, right, I mean, he's a walking

495
00:28:35,359 --> 00:28:39,000
Speaker 1: double on Tondre. But but maybe the English translation even

496
00:28:39,360 --> 00:28:42,800
Speaker 1: is sort of misleading because that's not really what he's saying,

497
00:28:43,120 --> 00:28:45,760
Speaker 1: or maybe Wong is winking at us there in that moment,

498
00:28:45,800 --> 00:28:48,520
Speaker 1: even if Leung isn't. But he asks her, do you

499
00:28:48,840 --> 00:28:53,080
Speaker 1: like it hot? In the subtitle? And I'm telling you

500
00:28:53,120 --> 00:28:55,400
Speaker 1: in that moment, before he even said it, I really

501
00:28:55,640 --> 00:28:58,720
Speaker 1: was responding to how charged that scene was. I could

502
00:28:58,720 --> 00:29:01,560
Speaker 1: give you the play by play and really make my point,

503
00:29:01,760 --> 00:29:03,680
Speaker 1: but I think, Josh, it would make you blush, and

504
00:29:03,720 --> 00:29:05,400
Speaker 1: I don't want to embarrass you here on the show.

505
00:29:05,480 --> 00:29:09,200
Speaker 1: But it is undenied. It's about sexual, It's undeniably sexual

506
00:29:09,240 --> 00:29:14,120
Speaker 1: because it's about it's about power. He doesn't ask, he

507
00:29:14,160 --> 00:29:16,960
Speaker 1: puts it on her plate. He makes the move to

508
00:29:17,800 --> 00:29:20,920
Speaker 1: put it on her plate to basically suggest that he

509
00:29:21,040 --> 00:29:23,480
Speaker 1: wants her to to try that, to eat it, and

510
00:29:23,520 --> 00:29:26,880
Speaker 1: she does, she submits to it. It's it's a pretty

511
00:29:27,360 --> 00:29:28,320
Speaker 1: incredible scene.

512
00:29:28,440 --> 00:29:31,120
Speaker 2: I'm so glad you asked this question because it clarified

513
00:29:31,120 --> 00:29:36,560
Speaker 2: another important distinction between us, Adam, I prefer quiet intimacy

514
00:29:36,680 --> 00:29:37,920
Speaker 2: and you like dirty talk.

515
00:29:38,160 --> 00:29:39,280
Speaker 1: So dirty talk.

516
00:29:39,360 --> 00:29:40,600
Speaker 2: I'm glad we know this now.

517
00:29:40,680 --> 00:29:44,120
Speaker 1: And Hot Mustard, I thought you were actually gonna put

518
00:29:44,160 --> 00:29:46,880
Speaker 1: it in this way that I just realized. My epiphany

519
00:29:47,000 --> 00:29:51,080
Speaker 1: was you find silence sexy, I find food sexy.

520
00:29:51,320 --> 00:29:53,280
Speaker 2: Well yeah, it kind of has a mixture of dirty

521
00:29:53,320 --> 00:29:55,840
Speaker 2: talk and food. So I think with that we should

522
00:29:55,880 --> 00:29:57,960
Speaker 2: move on for everyone's sakes.

523
00:29:58,080 --> 00:30:00,360
Speaker 1: So let's go let's go to something every buddy I

524
00:30:00,400 --> 00:30:00,960
Speaker 1: can see him.

525
00:30:01,120 --> 00:30:05,920
Speaker 2: Let's go to something far less sexy and talk about politics,

526
00:30:06,400 --> 00:30:09,360
Speaker 2: because it's something you brought up. I forget if it

527
00:30:09,400 --> 00:30:13,840
Speaker 2: were was with all happy yeah, yeah, totally happy together.

528
00:30:13,880 --> 00:30:15,840
Speaker 2: Maybe you brought this up and I don't have an answer,

529
00:30:15,920 --> 00:30:17,720
Speaker 2: but I have it was in the back of my

530
00:30:17,840 --> 00:30:20,959
Speaker 2: mind since you touched on it, and I have like

531
00:30:21,440 --> 00:30:24,000
Speaker 2: just an inkling from watching this film and where it

532
00:30:24,120 --> 00:30:26,120
Speaker 2: ends up. You know, we have this sequence a couple

533
00:30:26,120 --> 00:30:28,240
Speaker 2: of years later. I think we're about sixty six now,

534
00:30:29,360 --> 00:30:33,920
Speaker 2: and the politics kind of come into play in some

535
00:30:34,080 --> 00:30:37,720
Speaker 2: oblique ways. I think, though it is interesting before this

536
00:30:38,160 --> 00:30:40,840
Speaker 2: last sequence, Adam, you get that comment. I think it's

537
00:30:40,880 --> 00:30:43,960
Speaker 2: when we're back at the apartment building a couple years later.

538
00:30:44,000 --> 00:30:46,560
Speaker 2: It might be like sixty four at that point, and

539
00:30:46,640 --> 00:30:48,920
Speaker 2: a new resident I think says people are leaving Hong

540
00:30:49,000 --> 00:30:52,640
Speaker 2: Kong because things have gotten quote too chaotic, So that's

541
00:30:52,720 --> 00:30:55,800
Speaker 2: kind of like a little hint of some instability. But

542
00:30:56,200 --> 00:30:59,520
Speaker 2: this sequence is in Cambodia at the end nineteen sixty six,

543
00:31:00,360 --> 00:31:02,760
Speaker 2: and yeah, we get this newsreel footage all of a sudden,

544
00:31:03,800 --> 00:31:05,640
Speaker 2: I guess to set, you know, at first, I'm like, okay,

545
00:31:05,640 --> 00:31:07,280
Speaker 2: this is setting the time and place. But it's this

546
00:31:07,320 --> 00:31:10,760
Speaker 2: parade I think, with the prince and princess and French

547
00:31:10,800 --> 00:31:14,280
Speaker 2: President Charles de Gaulle, and so I'm thinking, okay, this

548
00:31:14,360 --> 00:31:18,360
Speaker 2: is sixty six. Did just some brief, very brief research,

549
00:31:18,440 --> 00:31:20,240
Speaker 2: but it looks like that would have been just before

550
00:31:20,600 --> 00:31:25,680
Speaker 2: the Vietnam War kind of destabilized Cambodia and spread into Cambodia.

551
00:31:26,040 --> 00:31:28,840
Speaker 2: Then we get that final sequence in ank or Watt,

552
00:31:28,840 --> 00:31:33,520
Speaker 2: where we're just with mister Chow Leung and he is

553
00:31:34,520 --> 00:31:35,840
Speaker 2: maybe I don't want to spoil all of it, but

554
00:31:35,880 --> 00:31:40,360
Speaker 2: this is the romantic gesture. But he's basically wandering the

555
00:31:42,560 --> 00:31:46,880
Speaker 2: ruined ancient temple complex there, so a lost civilization that

556
00:31:47,080 --> 00:31:50,760
Speaker 2: is no longer It's basically something that tourists go to

557
00:31:50,840 --> 00:31:53,680
Speaker 2: visit at this point. And so I'm realizing that, you know,

558
00:31:53,800 --> 00:31:59,120
Speaker 2: all of these things are suggestions of not only like

559
00:31:59,320 --> 00:32:04,080
Speaker 2: territories that are being destabilized in Hong Kong countries in Cambodia,

560
00:32:04,520 --> 00:32:07,680
Speaker 2: and then an entire civilization that has failed to last.

561
00:32:08,240 --> 00:32:11,160
Speaker 2: And I'm just thinking of, you know, how could he

562
00:32:11,240 --> 00:32:14,840
Speaker 2: have expected that this relationship, first of all, his own

563
00:32:14,840 --> 00:32:18,720
Speaker 2: marriage to last, then this relationship to last when like

564
00:32:19,000 --> 00:32:23,000
Speaker 2: these massive civilizations crumble in the face of what a

565
00:32:23,040 --> 00:32:27,080
Speaker 2: long obsession time. All of these things are suggestions of

566
00:32:27,200 --> 00:32:31,960
Speaker 2: time bearing down, things are about to change the way

567
00:32:31,960 --> 00:32:37,680
Speaker 2: that things always change, and instability is the only constant,

568
00:32:38,200 --> 00:32:41,440
Speaker 2: and as we've seen, unhappiness because of that is often

569
00:32:41,680 --> 00:32:44,680
Speaker 2: the only constant. So that's just kind of a vague

570
00:32:44,720 --> 00:32:48,120
Speaker 2: stab at maybe some of the political tie ins. I know,

571
00:32:48,160 --> 00:32:49,920
Speaker 2: it doesn't get into any of the details of the

572
00:32:49,960 --> 00:32:54,120
Speaker 2: realities of Hong Kong during this era or later, you know,

573
00:32:54,280 --> 00:32:58,880
Speaker 2: eventually what thirty years later would have been transferred from

574
00:32:59,160 --> 00:33:03,120
Speaker 2: colonial rule to China. But maybe that's something.

575
00:33:03,880 --> 00:33:06,479
Speaker 1: Yeah, I think you've said it very well. I think

576
00:33:06,560 --> 00:33:10,080
Speaker 1: there's always a sense, at least in these six films

577
00:33:10,080 --> 00:33:15,400
Speaker 1: that we've watched, of destabilization looming. It's always there, and

578
00:33:15,440 --> 00:33:19,720
Speaker 1: sometimes it is more direct, sometimes it's a little more oblique.

579
00:33:19,720 --> 00:33:22,400
Speaker 1: Here it is interesting that moment when all of a

580
00:33:22,440 --> 00:33:27,080
Speaker 1: sudden we cut to newsreel footage is so jarring compared

581
00:33:27,160 --> 00:33:31,640
Speaker 1: to everything we've seen before, this mood piece where we

582
00:33:31,720 --> 00:33:37,600
Speaker 1: are just enveloped in this world and these dresses and

583
00:33:37,840 --> 00:33:39,800
Speaker 1: the production design that we've touched on, and then all

584
00:33:39,840 --> 00:33:42,640
Speaker 1: of a sudden we're watching Charles Degall. It's like we've

585
00:33:42,800 --> 00:33:44,840
Speaker 1: all of a sudden been thrust into the real world

586
00:33:45,200 --> 00:33:48,480
Speaker 1: and we've been in a fantasy up until this point.

587
00:33:48,520 --> 00:33:50,240
Speaker 1: It reminded me actually in a way, in a completely

588
00:33:50,280 --> 00:33:52,720
Speaker 1: different way, but it took me out of the moment

589
00:33:53,240 --> 00:33:55,200
Speaker 1: in the same sort of fascinating way that the end

590
00:33:55,200 --> 00:33:58,720
Speaker 1: of Kiristami's Taste of Cherry, where all of a sudden

591
00:33:58,760 --> 00:34:01,520
Speaker 1: we get some whole movie footage, and if I'm remembering correctly,

592
00:34:01,560 --> 00:34:05,440
Speaker 1: we see Kiristami himself like making the movie that we

593
00:34:05,640 --> 00:34:08,760
Speaker 1: just watched. So again, very different, but in some ways

594
00:34:08,760 --> 00:34:13,000
Speaker 1: for me, a similar effect, where you are taken out

595
00:34:13,000 --> 00:34:16,799
Speaker 1: of this kind of hypnotic reverie with this movie and

596
00:34:16,840 --> 00:34:20,120
Speaker 1: reminded that, oh, all of this is happening in a

597
00:34:20,200 --> 00:34:24,919
Speaker 1: real world, a much larger world, where they're just one

598
00:34:25,520 --> 00:34:28,960
Speaker 1: kind of tiny speck in the universe, and that of course,

599
00:34:29,600 --> 00:34:33,080
Speaker 1: I think does set up ultimately the grandness of that

600
00:34:33,200 --> 00:34:35,840
Speaker 1: romantic gesture. So maybe that is a nice way to

601
00:34:35,840 --> 00:34:38,920
Speaker 1: get back to the question you posed. And I don't

602
00:34:38,920 --> 00:34:40,120
Speaker 1: know if we want to go ahead and throw out that.

603
00:34:40,160 --> 00:34:42,920
Speaker 1: If people want to not have In the Mood for

604
00:34:42,960 --> 00:34:46,520
Speaker 1: Love further spoiled, they could stop listening at this point.

605
00:34:46,560 --> 00:34:50,160
Speaker 1: But Warner West, I believe Warner West in Atlanta, He's

606
00:34:50,160 --> 00:34:53,680
Speaker 1: in the atl Josh, what's his question? What's his query?

607
00:34:54,080 --> 00:34:56,680
Speaker 2: Yeah, so again this is on letterbox. He said that

608
00:34:56,800 --> 00:34:58,959
Speaker 2: In The Mood for Love is likely my favorite Wang

609
00:34:59,000 --> 00:35:01,880
Speaker 2: Khawaii film. I was interested in the film spotting team's

610
00:35:01,920 --> 00:35:03,719
Speaker 2: take on the ending. I believe I got the same

611
00:35:03,719 --> 00:35:07,040
Speaker 2: interpretation as you in my several watches, but I know

612
00:35:07,120 --> 00:35:11,560
Speaker 2: others interpret their relationship differently, particularly in regards to who

613
00:35:11,640 --> 00:35:15,040
Speaker 2: we see with Maggie Cheung in her final scene. So

614
00:35:16,440 --> 00:35:18,160
Speaker 2: I did not respond to him yet, so I'm just

615
00:35:18,239 --> 00:35:21,080
Speaker 2: kind of guessing what he's hinting at. But towards the

616
00:35:21,160 --> 00:35:24,719
Speaker 2: end is where we see her return to rent an

617
00:35:24,760 --> 00:35:27,680
Speaker 2: apartment in the same complex where they were years earlier,

618
00:35:27,920 --> 00:35:32,120
Speaker 2: and she has a child with her, So I'm wondering

619
00:35:32,280 --> 00:35:35,560
Speaker 2: if what Werner is suggesting I haven't read others takes,

620
00:35:35,600 --> 00:35:38,600
Speaker 2: but that this may be mister Chow's child that they

621
00:35:38,640 --> 00:35:41,760
Speaker 2: did in fact consummate the relationship at some point.

622
00:35:41,800 --> 00:35:42,319
Speaker 1: There is a.

623
00:35:42,239 --> 00:35:44,960
Speaker 2: Scene where they the role playing. They even go to

624
00:35:45,000 --> 00:35:48,040
Speaker 2: a hotel where they believe their respective spouses have been meeting,

625
00:35:49,160 --> 00:35:51,800
Speaker 2: and we don't see anything, but they're there. There's a

626
00:35:51,880 --> 00:35:55,240
Speaker 2: room there, So it could have been something that happened

627
00:35:55,320 --> 00:36:00,800
Speaker 2: off screen and resulted in this child that he doesn't

628
00:36:00,800 --> 00:36:04,680
Speaker 2: know about, right because he happens to be visiting either

629
00:36:04,719 --> 00:36:07,000
Speaker 2: at the same time or a few scenes later, stops

630
00:36:07,040 --> 00:36:09,640
Speaker 2: in front of the door, thinks about knocking but doesn't.

631
00:36:10,360 --> 00:36:14,240
Speaker 2: It's another just great wangkhar WHI, like, you know, time

632
00:36:14,880 --> 00:36:19,239
Speaker 2: shifting in just the wrong way moment. So yeah, I

633
00:36:19,239 --> 00:36:22,400
Speaker 2: mean I definitely considered this as I was watching, is like,

634
00:36:22,800 --> 00:36:25,840
Speaker 2: you know, have we just not seen them take that step.

635
00:36:26,520 --> 00:36:29,520
Speaker 2: I like to think Adam, for the reasons we've been

636
00:36:29,560 --> 00:36:32,680
Speaker 2: talking about that it's in keeping with all of the

637
00:36:32,760 --> 00:36:35,520
Speaker 2: other films he has made that they would not have

638
00:36:36,840 --> 00:36:39,880
Speaker 2: and that retains it's not even really the moral question

639
00:36:40,080 --> 00:36:44,279
Speaker 2: as much as the the auturist question. You know, it

640
00:36:44,320 --> 00:36:48,200
Speaker 2: retains the au tourist integrity of his filmography. But I

641
00:36:48,239 --> 00:36:51,480
Speaker 2: can totally see that reading, and that in fact, would

642
00:36:51,560 --> 00:36:56,120
Speaker 2: add another layer of melancholy and sadness if he did

643
00:36:56,280 --> 00:37:01,400
Speaker 2: not only miss on reuniting with her, but his child potentially.

644
00:37:01,520 --> 00:37:03,640
Speaker 2: But I don't know did Where did you kind of

645
00:37:03,640 --> 00:37:04,200
Speaker 2: come down on that?

646
00:37:04,840 --> 00:37:10,040
Speaker 1: Well? I think anybody watching, no matter the experience you're

647
00:37:10,080 --> 00:37:12,200
Speaker 1: having with the film or how you're interpreting it up

648
00:37:12,239 --> 00:37:15,200
Speaker 1: to that point, I think that moment where you realize

649
00:37:15,239 --> 00:37:17,719
Speaker 1: that she no longer seems to have a husband but

650
00:37:17,760 --> 00:37:20,200
Speaker 1: does have a child, you do instantly wonder. I mean,

651
00:37:20,239 --> 00:37:23,040
Speaker 1: we've seen this trope a million times in other movies,

652
00:37:23,200 --> 00:37:27,440
Speaker 1: right where a couple that had a fling, they separate

653
00:37:27,600 --> 00:37:32,080
Speaker 1: and oh they had a child, and the man doesn't

654
00:37:32,160 --> 00:37:36,000
Speaker 1: know about it but eventually does discover the news. For me,

655
00:37:36,800 --> 00:37:39,960
Speaker 1: I just can't, I can't abide that reading of the film.

656
00:37:40,000 --> 00:37:45,120
Speaker 1: I think it's it's too it's too in conflict with

657
00:37:46,120 --> 00:37:50,879
Speaker 1: everything we've expressed, everything we've seen in this marathon. You're

658
00:37:50,920 --> 00:37:54,080
Speaker 1: right that it does add another layer of melancholy, which

659
00:37:54,080 --> 00:37:57,360
Speaker 1: would seem appropriate, So you could you could go with

660
00:37:57,400 --> 00:38:01,840
Speaker 1: that argument, But for me, the idea that they ever

661
00:38:02,000 --> 00:38:08,680
Speaker 1: did actually act like their spouses that they gave in

662
00:38:08,680 --> 00:38:11,000
Speaker 1: In a way, maybe it makes them more human, But

663
00:38:11,040 --> 00:38:13,480
Speaker 1: I don't think that's what wankar Whi is really interested

664
00:38:13,520 --> 00:38:16,719
Speaker 1: in here. I think he's he's interested in the provocation

665
00:38:17,360 --> 00:38:20,759
Speaker 1: of these people in the philosophical kind of consequences, the

666
00:38:20,800 --> 00:38:25,239
Speaker 1: existential consequences of them making that decision. In sticking to it,

667
00:38:25,480 --> 00:38:29,800
Speaker 1: we won't be like them. So I think my reading

668
00:38:30,040 --> 00:38:34,160
Speaker 1: is the one where she has at some point separated

669
00:38:34,160 --> 00:38:38,280
Speaker 1: from her husband or perhaps he's passed. She did get

670
00:38:38,560 --> 00:38:43,800
Speaker 1: a child from that marriage, and that you imagine allows

671
00:38:43,800 --> 00:38:46,520
Speaker 1: her to be a little less alone in life. But

672
00:38:46,920 --> 00:38:49,040
Speaker 1: it doesn't have to be mister Chow's kid.

673
00:38:50,360 --> 00:38:53,040
Speaker 2: I'm glad you know. We may not Addam, we may

674
00:38:53,080 --> 00:38:55,239
Speaker 2: not agree on hot mustard as a sex toy, but

675
00:38:55,280 --> 00:38:57,680
Speaker 2: I'm glad we agree on the ending of in the

676
00:38:57,680 --> 00:38:58,279
Speaker 2: mood for love.

677
00:39:10,200 --> 00:39:12,759
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678
00:39:12,880 --> 00:39:15,160
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679
00:39:15,160 --> 00:39:19,560
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680
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681
00:39:32,080 --> 00:39:35,080
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682
00:39:35,120 --> 00:39:38,000
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683
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684
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685
00:39:44,200 --> 00:39:46,879
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686
00:39:46,880 --> 00:39:52,080
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