Published online: February 26, 2001 The Nocturnal Magnetism of "Romantic Constraints" By Henry Y. Chung

Years ago, in a French literature course, I wrote an article (in French) proclaiming that romantic constraints can be the best kind of romance. Of course, that was when I was more naive and less cynical of human nature. Years later, I still think my belief still holds true - Even better, those are the archetypal scenarios that we deal with every day, often unbeknownst to us.

Wong Kar Wai's "In The Mood For Love" (hereinafter "Mood") is a film that brings the beauty of romantic constraints to our attention, revitalizing the points filmmaker Claude Sautet made throughout his cinematic tenure. Not too many buy the concept of constrained romance, at least not the average Generation-Y person. When I put forth my controversial hypothesis in my French literature course, my classmates nonchalantly dismissed it and thought I was full of crap, while my teacher (an intelligent, understanding French woman) gave her fullest appreciation, if not a standing ovation.

Predictably, "Mood" did very well in Europe as it won Best Actor for Tony Leung in Cannes Festival and Best Foreign Film Cesar. Wong has an expert way of pleasing European audience with his slinky moods and stylish visuals, as demonstrated best in "The Days of Being Wild," my favorite Wong film. That film first caught the European eye while his later films ("Chungking Express," "Happy Together," etc.) established Wong's reputation as an auteur. Understandably, Wong's success and fame are not as bold in America, largely because American spectators expect full-blown Hollywood-type romances with a happy ending. While the film still fares well in artsy markets like New York and Los Angeles, I suspect Wong's sublime gospel will not hit home in other major U.S. cities. What some of the Americans fail to observe is that movie screen romances seldom occur while romantic constraints are an integral part of our lives.

First, we must define "romantic constraints." The concept is seemingly abstract as a Picasso painting, but when you carefully decipher it, it has a sense of childlike innocence. My old definition went something like this: romantic constraints are liaisons courageous and profound, though fear impedes the relationships from growing. Roger Ebert, commenting on the Sautet film "Nelly et M. Arnaud," (hereinafter "Nelly") a classic film of the subject matter, defines romantic constraints as "an infinitely delicate emotional and intellectual dance." The actress of the film Emmanuel Beart simply states, "It's the meeting of two people in transition." My current definition does not differ greatly, and after watching Wong's "Mood" piece, I have realized romantic constraints can be just as sexy and sizzling as, say, mainstream romance, whatever that is. . . Simply speaking, have you ever loved someone but have never told her that you love her? That is the classic example of a romantic constraint.

Claude Sautet

As a loyal fan of Wong Kai Wai films (though not a blind follower), I must admit I was quite bored at the initial showing of "Mood." For one thing, the pace is quite slow and the montages are repetitive. My real question was: Since Claude Sautet has already introduced the concept of romantic constraints in "Un Coeur En Hiver" and "Nelly," what's the need for Wong's regurgitation? Now I have thought it through, I can come up with three plausible answers: 1) Romantic constraints are a timeless phenomenon; Wong feels the urge to introduce this "foreign" notion to the Asian audience. 2) Many people missed the point of Sautet's films or even the films themselves when they came out in the cinema. 3) Wong is simply paying tribute to the late French maestro for his understated works in film industry.

Mood and ambiance define Wong's and Sautet's films. In Sautet's "Un Coeur En Hiver," it is the violin's strings that bring all the lonely hearts together before they break. In "Mood," it's the noodle shop, Nat King Cole's "Quizas, Quizas, Quizas," Leung's smoking and Cheung's elegant Chinese gown. If mood is the underlying theme for a reserved passion, then there must be obstacles preventing the romance from going forward. In "Hiver," it's Daniel Auteuil's indecisive character. In "Nelly" and Krzysztof Kieslowski's "Red," it's the gigantic age gap between the protagonists. In "Mood," it's the unilateral unwillingness to conform ("We're not like them," as Cheung's character proclaims.) Evidently, fear is the essential element in the formula.

Upon second viewing of "Mood," I began to appreciate what Wong tries to do much more. In a nutshell, he's revitalizing Sautet's and Kieslowski's concepts (originated from Henry James) of "romantic constraints," making it available to a much wider and younger audience. He reminds us of our own instances of romantic constraints, romanticizes them, and lets us know that as missed opportunities, they can still be erotic as hell.

When interviewed about her role as Nelly in "Nelly et M. Arnaud," Emmanuelle Beart states that her character is mentally naked in the film. True enough, if you can mentally undress your counterpart in a relationship, you are one step closer to a meaningful romantic constraint experience. Leung does it with his eyes (and arguably his smoking) in "Mood."

Then, you need to create your own mood, accompanied with style, like putting on an album by a Buena Vista Social Club artist, playing double bass or harmonica at unexpected occasions, going to the movies alone, envisioning Jacky Terrasson's rendition of Cahn's "I Should Care" playing in the background while walking on the streets. Better yet, get a date with someone you are afraid to kiss. Words need not be complicated. True feelings need not be revealed. But mutual feelings and respect must be exchanged through exquisite body language and eye contact. Make sure that the mood stays there (it takes time to practice).

Life is short, surprise yourself. The worst thing is that nothing develops from that relationship. But there's nothing wrong with a memorable evening when you both know the sizzling tension is there. The ending of "Nelly" is an optimistic one, contrary to popular belief, in which the protagonists take different paths. Sautet explains, "Maybe they can see each other again. But certainly not right away. Maybe. Maybe. It's open."

That's right folks, it's open.

Interview with Claude Sautet & Emmanuelle Beart	Read "Mood" Reviews on Rotten Tomatoes	"Mood" Homepage
Other Links: Roger Ebert's Review of "Un Coeur En Hiver" Roger Ebert's Review of "Nelly et M. Arnaud" Roger Ebert's Review of "In The Mood For Love" HK Film Critics Society's Reviews of "Mood" (In Chinese) Kowloon Side's Review of "Mood" HK Movie Database's Review of "Mood"