The Mise-En-Scéne Inside Wong Kar Wai’s ‘Corridor Glance’ Scene

‘The Corridor Glance’ in In The Mood For Love by Wong Kar Wai portrays both protagonists; Ms. Chan, wearing a fine, tight dress, walking alone through the dimly light, tight streets of deep Hong Kong. She, however, seems desolated, exhausted of the constant noise surrounding the city. Meanwhile; Mr. Chow, is presented as a fine gentleman as well, wearing his suit and tie, hair slicked back, and a newspaper copy in hand. Nevertheless, he looks just as drained; from his laborious endeavours and work rhythm.

Both characters, despite being in their respective - yet absent - relationships, seem desperate for action, hopeless for love, and yearning each other. Wong Kar Wai presents us the tone of their relationship in their routinely late night meal, where after constant banal repetition, they do, finally meet each other, where the light is low, and the city is quiet. The neighbourhood tunnel that connects their street, and shadows their intentions, in the mood for love.

Wong Kar Wai begins by presenting Ms. Chan, as she makes her way to her usual noodle place nearby her flat, carrying her turquoise noodle-pot and small wallet. She wants in and out. She appears wearing make- up, dressed with a seductive cheongsams dark toned, colourful, turtle neck dress; which highlights her curvatures. She appears as a lady who takes care of her appearance, health, and fashion, but why? What’s the occasion? She looks stellar, seen; yet desolated, despondent to the business of every day life.

As she waits for her meal, the city breathes around her. The chiaroscuro lighting is almost seamless, adding to her character stand-out among the city, blending in flawlessly with her environment and creating perfect duality between character and environment. The server moves smoothly beside her, as the people eat, the place feels alive, yet she’s still, prowling. Ms. Chan wipes the tiredness of her face with her handkerchief when she finally heads back to her apartment with her noodles, almost hoping for something more.

Suddenly, as she returns from the establishment through the shadowy tunnel that connects each street we see Mr. Chow approaching the same noodle cart only moments afterwards. He appears disdainful, drained, in his work clothes; a suit and tie. He also carries what appears to be a copy of today’s newspaper. He then sits in solitude to eat, pondering, and apart from distractions. The light that reveals him is coming from the noodle cart. Opposite from Ms. Chan, he appears distant of the constant movement felt in the city, as if no one cared of his presence, a strong depth of field is seen behind him, opposite from the deep focus previously seen with Ms. Chan.

It’s routinely; Wong Kar Wai, indicates us with the music, frame rate, and finally their wardrobe this journey happens often. Both characters appear finely dressed once again. As Ms. Chan is returning from the establishment, wearing a bright green cheongsams dress with red tones, her pot and wallet, when she finally runs into Mr. Chow; who wears a different suit and tie. They meet at the tunnel, walking up and down the stairs. The slight subconscious reciprocate intention is seen on their body language as they get closer together. He approaches her warmly, as if he coordinated his endeavour for those two seconds of shared light, of shared gaze between both characters, before they both dissolve into the darkness and emptiness of the tunnel, and their everyday life.

Written by Tonino

LINK TO WATCH SCENE: https://youtu.be/ypY9OaKCfRU?si=Y9ZcEAz2a2gb1iYb

*This article is posted with learning purposes only. Written by an eagerly passionate film student in the pursuit of growth and knowledge within the critique world in order to better understand motion pictures. Every critique is constructive and appreciated.*