Inspired by one of the year’s biggest indie sensations, Barry Jenkins’ MOONLIGHT, we’re looking at another highly romanticized tale of unrequited love: Wong Kar-wai’s beautiful 2000 film IN THE MOOD FOR LOVE. In this half, we talk about how affecting LOVE’s central non-love-story is - and why - and consider how the film reflects Wong’s improvisational methods and his desire to create a dreamlike return to the Hong Kong of his childhood. Plus, feedback from our last episode on AMERICAN HONEY and MY OWN PRIVATE IDAHO.

Please share your comments, thoughts, and questions about IN THE MOOD FOR LOVE, MOONLIGHT, or both by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

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00:00:03the line between the pair someone on past and can take possession of it we may be through with the past not through with us welcome to the next picture show a movie the week podcast would to a classic film and how it shapes our thoughts on the recent
00:00:23release I'm Scott Tobias here with Tasha Robinson kidnaps Genevieve Kaski here in the next picture show we believe that no film exists in a vacuum and that all cultures more interesting in context so every other week we get together to talk over a classic film and consider how
00:00:38it relates to a current movie this week we travel from Hong Kong in the sixties to modern day Miami for two heartbreaking stories repressed passion of unrequited love each told with their own formal and structural audacity Tasha perhaps you can talk about the pairings in our pairing currently
00:00:55standing at ninety nine percent on Metacritic and ninety eight percent on rotten tomatoes bearing Jenkins moonlight is quantitatively speaking the most acclaimed film of twenty sixteen so far it's also been one of the year's biggest indecent stations in part because of the strong reviews but also perhaps because
00:01:11it tells a story of unrequited love that we're not used to seeing in contemporary America holding in three distinct chapters moonlight shows three phases in the life of a bully black Miami resident named Sharon who lives in poverty with his drug addicted mother Paula Sharon's been quote unquote
00:01:27different from his peers and pre adolescence and the film is about his struggle to identify and pursue his desires in an environment that strongly for bids homosexuality there Amanda qualities of moonlight from Sharon's tormented relationship with classmate to the dreamy musical themes that connect them called mind the
00:01:43work of one car why particularly is beautiful two thousand film in the mood for love opening in nineteen sixty two Hong Kong in the mood for love stories Tony long and Maggie Cheung as neighbors who discover their spouses are not only cheating on them retreating on them with
00:01:56each other the betrayal binds them together and as the two coolest and most beautiful people ever to walk the earth they want to fall in love but the resolve to honor their vows and not do with their spouses did to them however painful the consequences moonlight in the
00:02:10mood for love our movies built around my favorite theme unrequited love the both sensitive to the pressure outside forces can exert over relationship from nosy landlords given to all night mahjong sessions hyper masculine packs of teenage boys wire films about relationships that don't happen so romantic in one
00:02:28or one car wine very jiken saying about the time and place where these feelings can flourish only to be snuffed out by circumstance will throw a coin in the juke box called an old standard what the spark siempre que tape one bill two CM they the side effects
00:03:00a few weeks ago we talked about the HBO version of Westworld a show about an old west theme park the doubles as an allegory for what makes us human the android hosts in west world all operate under a set of expected behaviors and canned storylines called loops and
00:03:15when they start to break down and wander off script they're said to be quote out of the loops of course we all operate within loops that we call routines those repeatable patterns of behavior that bring order to our everyday lives our routines are helpful in bringing structure and
00:03:30predictability toward days but they can act as a kind of prison reinforcing a situation that doesn't necessarily make us happy Wong kar wai's films are obsessed with repeated patterns of behavior certain images gestures and routines are emphasized as a way of letting us understand the contours of a
00:03:46character's life how difficult it can be to break out of them in the mood for love may be a lush portrait of early sixties Hong Kong but it's remarkable how little we see of it how consequential it is we travel someplace new Tony long and Maggie Cheung characters
00:04:01Chow mo wan and sue lesion occupy neighboring apartments and a tightly constricted space with our actions are closely monitored by nosy landlord MO one works as a journalist lesion works as a receptionist and that night when their spouses are almost always out of town they head down to
00:04:16the noodle stand to retrieve their dinner it's there that Moana lesions loops overlap and they get to know each other better starting with the revelation that their spouses are having an affair together in the mood for love was shot using long as usual improbable story approach which gives
00:04:29at these beautiful liberated flashes of style and movement but the film is built on repeated motifs the trips up and down the stairs to the noodle shop the recurrence of the same lovely score by Shapiro will biology in the series of cheongsam dresses one by Maggie Cheung which
00:04:44both mark the passing of time in symbolize the restrictions the governor life in the mood for love is elegant impeccably performed heartbreaking when it needs to be but it's true romantic tension comes from the distance between Mohon and lesions desires in the loop they cannot will themselves to
00:04:59break this the songs he says he's some place else he's alright gang easy question to start what did you think of in the mood for love and the thing's been around since %HESITATION the year two thousand it's probably my favorite of his movies all to tip my hat
00:05:35as far as that is concerned but I'm curious to survey the room %HESITATION talks would you think I mean I've always felt a little aware of the fact that I don't love the film the way you do but few people on the planet love this the more you
00:05:47do I mean you you are beyond a super fan of this movie I'm it's never connected for me emotionally in the same way and I recognize that I'm in out liar in that case and it's a little frustrating for me because it's so technically rigorous it's so beautifully
00:06:03shot the music is so of vocative the people are so beautiful but it just reminds me a lot of some of the things that god was doing in the nineteen sixties where you have the beautiful people sort of lounging around and posturing in these ways that evoke there
00:06:19on we of oak there detachment from the world and this film for me still feels very detached from the world you have all of these different phases of their their life and their relationship where it seems like it of all so what exactly is keeping them apart and
00:06:34where they are mentally and how they don't connect but this is the different phases for me don't entirely connect the whole film for me is like an impeccably crafted beautiful portrait that doesn't have nearly as much feeling in it for me it does for you yet that that's
00:06:50for sure that that it doesn't have as much feeling as for me the the the most detachment part is something I find curious because I I find again with that the mix of one car wise style which is improv the Tory an impassioned and active to go along
00:07:05with I think we are you know which is a very emotional story but I'm already gobbling up time I'm gonna give it I'm a service to keep me in when I I I I love it I we we have to that poll recently where we use a bit
00:07:16of terror best films of the century so far and it was really like this in one or two other films I knew were locks for it I mean it's really giving me everything I want in a movie it is it carries you along piece of music I I'm
00:07:28I'm deeply emotionally involved in these characters I I find incredibly moving in and %HESITATION heart breaking in and and dramatic at the same time and makes you want to walk around Hong Kong in nineteen sixty two I don't know it's just such a rich richer realize world I
00:07:42feel like I can smell the noodles I'm I'm very pro in the mood for love urgently what about you I mean I find it romantic in like the classic sense of the word ball not necessarily being incredibly invested in the central romance I don't us even not invested
00:07:58but it's a very understated a reserved type of a motion that we see between these characters and that is enticing to a certain degree but to me it was not as enticing as kind of what you mentioned keeps the the world that this world of music and color
00:08:17and beautiful dresses the workers yes I'm hugging my rice cooker right now cigarettes my god it's smoking is rarely to this right and smoking tends to look beautiful on film wanna trattoria's yes I mean I think about this as a romantic movie like the way I think of
00:08:33like the romantic era of art more than a romance between two characters but I I mean I definitely see the emotion you're talking about there in I think it's definitely one that would reveal itself to me on more viewings I watch this movie twice because the first time
00:08:51I watch it was election night in that I I was like I definitely need to go back to and so much more revealed itself to me especially in the lead up to the revelation that their spouses were earned by having an affair in just the the way that
00:09:06is planted in so many ways stylistically it felt like a much richer movie going back and watching it a second time and I can see it being the type of me where would continue to get richer yeah I mean I just it crushes me but I've seen it
00:09:19probably seven or eight times and it really epic that spot so I guess but the spot in the spots for me are the moments when they're rehearsing or they're playing out scenes where she is practicing confronting her husband about the affair or the you know most devastatingly the
00:09:35scene where the two of them have to figure out how to say goodbye to each other and and and how hard it is on both of them to to do that I'm so pissed at spots and also just as you said in talking about it planting the seeds
00:09:48I mean it really does an interesting job and it does it in a practical sense setting up the fact that this knowledge they learn about each other that that their spouses are cheering for the with each other you you get the stuff about the purses in like and
00:10:01%HESITATION and where did you get that hand bag and I mean all of that is kind of as well established but there are other ways I mean I the especially prickly the music the kind of sets this emotional context in the new ones that set when it repeats
00:10:14itself the score throughout the Fillmore or you get some piece of music that that that you hear or you again and again and again I think that just the emotion emotional residents of that Stevens and the but the defense and the other thing about it too is just
00:10:29on a filmic level it is just stunningly beautiful for every moment and you you just you watch near like this this is an absolute master at work this is someone who who is on just on a level beyond what even a great filmmaker can do it says that
00:10:44he just doesn't buy a few beauty that that that's both speaking to him and his scimitar risks for Doyle in Berkeley thing been who are who have done extraordinary work elsewhere I just I've only actually the artist the level of artistry here even with the rain like he
00:10:58came from rain in the way that you've gotten you've never seen rain look like that on on film before it's all sins and consider how much is made up on the fly when he makes his movies to me just from others and I don't think he's made a
00:11:10bad habit I've seen some a lot better than others but there was one happy accident after another movie after may of course all kind of torture say shot over over months and even years sometimes but the result is wonderful I'm gonna reveal little ignorance on my part here
00:11:23I did not know that he was known for shooting in an improv is very style arm so hearing you say that and the keynote was a little shocking because there are so many shots in this movie that seems so carefully and artfully composing and I mean they are
00:11:38artfully composed but the idea of that not being planned out far in advance is can you explain a little more of what what his will and I think that's a lot of just I don't I'm not sure precisely how he does it but I think it is a
00:11:50matter of just trying to be spontaneous and in trying to develop the movie on the day in with with the cinematographer and with the actors in trying a lot of different things and then kind of getting were so is it more like in the performance you're talking because
00:12:05I mean the guys are often structured there's scripts are written as sort of the more outlines to to ensure investors that there is a plan for yeah yeah %HESITATION often the final film is is quite different he's done for editing films like up to them over the premiere
00:12:21at Cannes that died last chance Doyle who was one of the survivors on here is as somewhat famous for a %HESITATION drinking on this fact out while shooting films %HESITATION so there's a lot of %HESITATION finding the film %HESITATION in the in the moment when he did he
00:12:35is also known for having walked away from this film because it took so long right were so so many retakes and there was so much experimentation and it didn't end up feeling the schedule that he wanted to fit with and he he got very frustrated with it which
00:12:48is why it has to cinematographer dinners are also you know on the Blu ray and DVD there's a whole nother act to the film that was cut entirely if you wanna see Tony long in in a in a very %HESITATION seventies mustache and a watch that it actually
00:13:01would recommend it's all outside the scope of the story here and kind of changed the story a little bit so it might be best not to tell them yeah I think the ending is pretty perfect as it is for carries it over a be that the the movie
00:13:11twenty forty six is a clause a sequel and you know that's the name of the for the room that that he stays in the in the movie and and so he may twenty forty six are that not going to be a lot of that's also one where you
00:13:21can see the loose ends are a lot more to lose than fallen angels was supposed to be part of talking express and then became its own movie is that right yep that's right now I'm so so he has I think a little bit of a wild ride book
00:13:35but I think you know and that's really where the performances commenter to bring at that emotional coherence anyway in and freshness you know if there are a lot of repeated scenes and repeated efforts unusually still getting great stuff from his actors make many Chung in this is that
00:13:52an affecting its and it's a bit better than than that those two are so good so what do you see to get get into the details here your what what do you see as the forces keeping these two apart me I talked about patterns of behavior but there
00:14:06are questions of morality at play here too in there also expectations impressed upon them by outside forces so what what's why can't these two love it's got together for me it's a film and at least a little bow down to submit to match wits about help people who
00:14:21are being good guess in a way of being happy and following the rules and and and these patterns you talk about their habits and their routines there also give structures the lives and and it gives them a cover moral pattern to follow I mean there is there's no
00:14:35structure contrast between how people live their lives between Milan and paying and who's you know it's completely undisciplined and and the botched and Larry S. and and and drunk around and a very charming in his own way but just the way he dresses first the way my one
00:14:48dresses so you know so put together reflexively as on the inside as well I really don't understand I I mean I've read a lot about this film and so many people seem to take it as as read that both participants decide that they can't sleep together because of
00:15:03their spouses and because of their morality and I just don't see that playing out the performances I at MO one asks her back to his room and she turned him down he tries to hold her hand in the in the cab and she turns them down it seems
00:15:15like he initiates the let's play act you confronting your husband about this and then he's called her out for not having a stronger emotional reaction for not hitting him hard enough he called her out towards the end of the film for refusing to leave her husband he seems
00:15:30to me at every beat to be trying to push this into a physical relationship and he respects the fact that she keeps saying now but I don't think it's an even thing on both of their parts that keeps them apart from each other I mean their circumstances are
00:15:42different it's not entirely clear at least it wasn't to me what happened to my one's wife after she went to Japan it kind of seems like she left him he there's some mention of him not being able to take the gossip which could be about one of several
00:15:58things with nonstop living there as well yeah it he on a few subs living there but he takes to the hotel but Lisa and I mean for one thing she is a woman and it's different being a wife to a philandering husband than being a husband to a
00:16:14philandering wife especially in the nineteen sixties Hong Kong I'm assuming I don't know a whole lot about them though I mean no one's wife seems to deal with it however she does with it and there's that implication of gossip but we I mean we certainly don't get it
00:16:29Ellie given the nosy landlord doesn't seem to have anything to say about the two of them about the two spouses who are having an affair but I I think there is also a very interesting touch and the fact that lesion is at least at the beginning we kind
00:16:41of helping orchestrate her bosses affair and managing the calls to the the wife and a mistress and having her husband by two presents for them like I I think she's coming at it from a different angle in terms of what it would look like to someone else to
00:17:00have an affair I just question how much of it is societal pressure and how much of it is just her I get the impression from the way her emotions spill out in in moments where she confronts things and and breaks down and keep saying I didn't think it
00:17:16would hit me this hard that she's kind of afraid of a motion that she's kind of afraid of these overwhelming overpowering things that live inside of her and she won't give in to them and we see her at several points start to like running after him and but
00:17:30it's too late because she wouldn't let herself get in traveling to Singapore and not confronting him calling him and not talking to him I think she's the one that's holding her back and it may be because she's worried about what people say but I think she just can't
00:17:44let herself given to it she is a very reserved person and and we see that even before the start really talking to each other like not wanting to interact that much of the other people in the unit where she lives and you know kind of keeping to herself
00:18:00and it may just be that she is that kind of person she says of a much more reserved person heard her dresses would certainly under her tight constricting dresses would certainly back up that a character detail speed the prospect of trying to get one of does offer a
00:18:16torrid affair is a I just seems considerable I don't even know how she gets into them in the first place it's like they're part of our skin but this is Scott going to hate this alone but one of things keeping them apart is editing because Walker why originally
00:18:32shot an opening scene where the two of them are in a hotel together having sex now right right and he decided he felt that it just didn't work he said he didn't want to see it but because the characters had had contact with each other because the actors
00:18:47who played at the scene they always played the rest of the film as though they had had the physical contact and he wanted that feeling of did they didn't they have they have a day to actually to hang over the film I I don't think it's inherent to
00:19:01the film that they have not had physical contact it becomes that way because of what you see what we actually get in the editing but it was not inherent to the script and I find that I just really kind of fascinating sounds like a lot of information that's
00:19:15just right out of the frame kasha what we like to call that's got extra textual material I think with the movies that to this allusive and this subtle extra textual slick sometimes I don't want to know in cases like this I find it just fascinating listening and meet
00:19:32the there's a charge there in the chemistry between the two of them as I you know I don't know how it if it suggests that they've had any kind of intimacy together but there is a charge to them that I mean again they're the two most beautiful people
00:19:45I've ever seen so so so why not %HESITATION but I I do want to kind of go back to this question of societal pressure because because the fact is they are sort of tiptoeing around this watch full you know landlady and that that has to mean something I
00:20:00mean there have ever I I don't know what societal norms were in early sixties of Hong Kong but there has to be some pressure there to Ryan and they can't they can't be there though I mean there's there is the fact that their spouses are carrying on this
00:20:13affair and nobody but them seems to really notice like nobody comments on it their of their spouses are ghosts I mean they're do they're they're not on screen you hear their voices from time to time you hear all of the stories about them you have you see the
00:20:28effects that they have both emotionally and just in all of these little ways I love the scene where they awkwardly try to connect for the first time at the diner over you have a great purse where'd you get that person maybe I could buy that personal my husband
00:20:42bought me that you have a great tie of my wife bought me that and they just have this awkward moment of we cannot connect in even the most shallow and obvious of ways without our spouses get loose on him options though those are when that's when they find
00:20:55out about each other right their feelings about how he how much is welcome it's like I know something I know you know something yeah well you know that's what that is it's not it's not attempted kinda make conversation it's it's there digging for specific pieces of information I'll
00:21:08bring it back to my original point worry what degree to which one is more just in a physical relationship than the other one is more open to it than the others made me very but these are people who get their spouses don't care about violating morality in this
00:21:22file system care about whether people think they deal and that's a different forms a lot of their behavior yeah they're old fashioned and well like I remember one of my other favorite movies the age of innocence is the same sort of situation where in it written and ends
00:21:36with Daniel day Lewis refusing to to go up to see Michelle Pfeiffer who is who is the woman who he loves but who is he opted not to leave his wife for and %HESITATION in that those the words he tells his son to tell her to tell her
00:21:49that TV is old fashioned and saw that some of that place here there's this it's important certainly to her to toe the line even though her spouse is not well in in the first time we see them re enacting that first night like how it might have happened
00:22:05no one is able to reenact the critical moment where he reaches out to touch her or what we're basing where he makes a move and then they kind of go back and redo what with her making move and she's like I can't do it like she can't even
00:22:19imagine herself doing that she can't even do it for the sake of this little game they're playing or trying to figure it out for themselves and I think that just speaks to an aspect of her character that does impact their relationship in the end so high look let's
00:22:34talk about the locale you know how how does one of oak the period ninety over there any stylistic touches that you found particularly striking have I mentioned the dresses dresses when I got the dresses as I was telling touch on it's a message earlier like watches movie made
00:22:49me crave for a deep wardrobe analysis like Tom Lorenzo dot com used to do for mad men every week just like going into the colors and how where jobs are speaking to each other and what the flowers on her dress mean in any time like it did that
00:23:04may not actually be there but it was so in your face that it may meet really want to go back and analyze her trust I wanted to Matthew doesn't like textual break down just like the really close to read %HESITATION she's wearing a blue flowers now mean I
00:23:20now know I I had the same the same impression justice I'd like this endless parade of of fabrics and all in like roughly the same physical style which is so mod and I it's just flattering and yet at the same time so like almost alien at the custom
00:23:38is fantastic well into it also as I think I mentioned in the keynote it's crucial to know the passing of time because it because the of the the whole cut you know you'll get her in like four different dresses within thirty seconds of and so so you know
00:23:54all the things are moving forward which is close which is again a very clever way to do it there's just something about the the bouffant hairstyle that she so often wears I didn't really think about it early on except you know the degree to which it must be
00:24:09difficult to maintain that given how often these characters and up out in the rain %HESITATION but it's you know it's very much of the time and yet there's a shot late in the film where the camera just creeps up really close on her a little from underneath and
00:24:24you can see just like how high and how almost plasticine that here is and you can see the curve of her actual head underneath and all the sudden it starts to feel performance of the fact that she has this hair it starts to feel like she's a porcupine
00:24:38she's trying to make herself larger and more a decorated than she is like she's trying to keep the world at bay with like foot high hair and it suddenly it starts it stop seeming like a style and it starts seeming like a helmet in a really weird way
00:24:53I have no idea if that was intended term really struck me yeah I think we she looks kind of talk speaks what you're talking about with her character a %HESITATION she is a very put together person and as always clearly very cognizant of the image she is projecting
00:25:07through her clothing and through her hair into her shoes that when she comes in and like to collapses and takes her shoe off it's hurting her you know like this is a woman who is concerned with appearances and I think that it's not hard to draw a line
00:25:20between that and her relationship with willow when the land ladies just like she dresses like that to go get new look click her lifestyle would seem to dictate that she'll be wearing whatever the sixties Hong Kong equivalent of sweat suit especially the fact that she lives on noodles
00:25:37how does she maintain that waste on an all noodle died I think step one for doing that and and looking back and addresses be Maggie Cheung well and also spend a lot of time navigating very narrow hallways and stares which is another so I don't think we can
00:25:51talk about is just the the the way this environment is set up for them to constantly be bumping into each other and rubbing against each other in you know in narrow doorways it's in it does are also contributed that sense there's always people watching them you know there's
00:26:08the only escape the house in two small rooms either their small bedroom within this larger apartment or a hotel room you know and we're going to talk more about framing in the second half because it's so relevant to moonlight as well but there's just there's a degree to
00:26:22which those spaces are created in order to frame the two of them this is bizarre I don't I don't get that emotional like watching the two of them just like stand they're not looking at each other I get emotional talking about the the way some of the physical
00:26:38choreography works and I'm actually like my throat is closing little bit trail described the shot they're just in a different way there's a shot where she is on the extreme right of the screen and there's just a sense of the space where there is nobody feels naked in
00:26:58just such a a an achingly right away and he comes up out of the background and fills that space and it just feels like such an incredible completion it's like you knew something was missing and then walk away fills it in for you although I think getting choked
00:27:13up well I think the most striking shot in the film for me is one of those narrow spaces down a long hallway with nobody in it the one where the red curtains a certain building in the green plant is in the foreground I mean I haven't seen anybody
00:27:28use foregrounded objects like this since Hitchcock it's just there's so much of it in the film where the characters will be in the background and will be a wall or a rock or plant or curtain or something in their race or I love it the the scene to
00:27:45the very end where they're like back to back against their respective were the walls of their respective apartments and no one is hugging cooker which may be my favorite image but then you can see her her rice cooker in the background of of her shot to you know
00:28:00it's like this they're connected by their race Hong Kong a little bit too right I mean and yeah I mean I know this is something I mention in the again in the keynote is how we do you deliberately narrows our view of it we get a sense of
00:28:15them of the patterns the routines by which they conduct their lives so we only get get it in bits and pieces but when we do land on certain locations it becomes more more meaningful it would be if the film was a little more wide open and is now
00:28:29again I'm not to be all extra Textron but they're really hard time finding parts of Hong Kong that could pass for sixties Hong Kong and it was so so much to so much of the film is about one car was memory and his his very specific sense of
00:28:43place and they couldn't find places he didn't want to feed on sound stages he didn't want to create these places but he couldn't find them and that's one of the reasons so much of this film is confined to the interiors and then when they get out into the
00:28:56world it's of let's go to Singapore like let's go to Cambodia but what you do see I mean that just the small space small part of the city they walk through is so vividly realize but also seems a little dream like it seems like like you said it's
00:29:10it's like Hong Kong as he remembers from his childhood too and some of that is Singapore right well went in for the purpose of the film is Hong Kong this was that the Hong Kong that that he grew up and not having to have been born in mainland
00:29:23China not speaking the language I speak in the dialect so it feels a little I mean the fact is a an American singer sing a Spanish language song which was a hidden hunger to talk with us as the dot on the dominant songs feels very right in many
00:29:36in many ways the justice these degrees of dislocation and disorientation the at this really vivid depiction of the city as part part of for me it's part while the film so much so could you could someone explain to me because maybe the something you research as well what's
00:29:52that that what's the deal with the footage of Charles de Gaulle visiting Cambodia I was gonna ask that to like a lot of I I've seen the film many times and I'm like I don't know what that is I don't know it didn't come up in anything I
00:30:04read about it the one guest that I have is that it's Wong trying to put the relationship in a larger context but I'm not I'm not sure with like I I think it's also the signs of changing times over what the call was doing there was expressing disapproval
00:30:18the Vietnam War and so you can see the early sixties answer this this this romantic vision of of that toting over into the later sixties which gets mentioned up later in the film about how things are changing in Hong Kong I either explicit references to protest I can't
00:30:32remember but this certainly this the sense of of unrest to study and not the Hong Kong earlier film was giving giving way to a difference that world is gone is that yeah I mean that's that's in that scene when Lisa and goes back to visit her old landlady
00:30:47that she does make some comment about it being I don't know she was there this is dangerous but there there is definitely some dialogue indicating that Hong Kong is a definitely a less desirable place to be right now that might of also just been meant to signify Cambodia
00:31:05I mean it might have been a historical moment you know in the same way establishing shots of New Yorker like okay here's the Chrysler building that might have just been like to alert us to the the passage of space when he was already alerting us to the passage
00:31:19of time I should note that that shot of him whispering into the hole and then filling it with dirt that that that is a that's a sub tweet ever at whenever right whenever I say they're going to a couple of times when that has been images band a
00:31:35sub tweet for me %HESITATION dislike I'm just gonna put that fought in the hole and then that's going to be where remains I mean that conversation that he has with a co worker where he he brings up that legend it's the kind of thing that you know is
00:31:49going to have to pay off you know you don't have a story like that in a film without the conscious knowledge of that it it's going to come back somehow and at the same time it's even when it's set up even just a description at it's just so
00:32:04clear that that's going to be a powerful images that yeah it did that that's the final but the death blow for for me that what is what's that video game where they just they rip out your attention outside moral compass is that the finishing move for me there's
00:32:17a lot of light moments of the film that that are very affecting but %HESITATION but that's that's the end of it for me just like that that's where that this whole thing goes in such a such a lonely moment in such a beautiful moment hoof too much for
00:32:30me it's when he stops in front of the door and then doesn't knock like dude you already bothered one neighbor just the door old fashioned enough so the old fashioned or is it just all about creating a sea and here's here's the thing one car why has has
00:32:47talked about this movie as not being about love but being about the mood for love and how this environment the music and the time and the beauty in the space of Hong Kong all create this mood that is meant to be the mood for love and yet the
00:33:01his two characters can't quite sealed the deal for all of the various reasons that they have they have they've been placed in the perfect environment for love and they've been given the mood for love they just can't quite get there have so much in common to the like
00:33:17martial arts cereals and let the from the need for the stand out there and again and again the two most beautiful people you ever say that like they belong together and this is the city %HESITATION that should allow it but it doesn't happen which is crushing and beautiful
00:33:35I mean would it be better in any way if they got together I mean you you make it sound like there are no that's the then that's another point I wanted to make two is that I I think there is something more romantic about films where things don't
00:33:49happen where whether there's no happily there's no happily ever after word word just you you have this tension that exists in is very powerful but it just it does not mean to quite materialize that to me is that's as good as it gets it's almost like you let
00:34:04off by saying that one of your favorite trips was unrequited love hip that's right and with that we'll be back with some was for feedback on a list of now it's time for feedback our last episode on my own private Idaho and American honey was among the more
00:34:24contentious but drew a couple of thoughtful responses to Andrea Arnold's sprawling road movie about young people selling magazines in middle America the first one is quite long but it speaks well to the personal reaction people have had to American honey people like Genevieve Kaski Genevieve the one read
00:34:39this one shirt Jesse rights Genevieve jokingly implied the part of her love for American honey came from her life experiences a teenage girl will touch a told the story of how her viewing of the film and formed a previous encounter with a kid who scammed her during a
00:34:52magazine sale like Tasha I bought two ridiculously over priced magazine subscriptions a couple of years ago after talking with the young man who came to my door I have no way of knowing whether or not he was telling the truth about his backstory my heart went out to
00:35:04him and I bought something that I didn't want or need or received to this day in an effort to help him out in retrospect I'm fairly sure that he was part of a magazine crew and further reading a magazine crew seems to support my suspicions one of the
00:35:17main reasons I sympathize with this young man however was from another life experience I had canvassing the Wisconsin public interest research group while living in Madison Wisconsin like many of the kids in American honey I was a bit lost at the time had recently been pushed out of
00:35:31college to to poor academic performance and it was dead broke and struggling to find work when I fell into going door to door in various neighborhoods in Wisconsin I spent long days with other canvassers who were all around my age between for awhile and then go out and
00:35:44solicit and and the night partying what struck me in American honey was a betrayal of the rag tag crew of kids in the sense of camaraderie which is very similar to what I experienced during my short time as a campus Sir my entire social life revolved around those
00:35:56people and after I was unceremoniously let go and never saw any of them again as a result of these memories I was so sucked into the movie that I glossed over any heavy handedness I was aware of some of it but it didn't ruin the experience of the
00:36:08film for me I wasn't aware of the concept of magazine crews at the time or for many years after but I think the parallels supply perhaps things have changed in the fifteen years since I've done this sort of work but I somehow doubt it so authentic saying I
00:36:23suspect there's a lot of people with similar situations from kind of their early adult late adolescents early adulthood where you find yourself in a group of like minded people with little in the way of responsibility and %HESITATION you you bond in a very intense way that doesn't necessarily
00:36:42last through the rest of your life but we can kind of go either way too I mean if you're spending your days and nights of the same group of people that can either bring you closer together or or the the opposite of that if if the chemistry is
00:36:57not is not there but that is the nature of the job that you're all together on the road I think it's just and another interesting way in which we see that what you get out of film does is heavily influenced by what you bring into it it's kind
00:37:12of remarkable that we can sit down and talk about all the fics with vis a and come anywhere close to repeat the same responses with each other given how different we are going in yes I thought as she would like him because he's still pissed off eating their
00:37:24magazines I mean I don't get my magazines either you don't see me complaining about it unless you go back and listen to the podcast where kind of complain about it a little so also in the American honey front we had another listener who didn't see the movie but
00:37:39based on our description connected it with another phone we talked about on the show earlier this year Keith can you read this certainly JV writes sometimes pop culture is interesting out of context without having seen or been remotely exposed American honey I was listening to our discussion and
00:37:53hit me TCM some details make America honey sound the cubs are world companion piece to green room a few stray observations on both films one young lower class present day roll Americans know the lyrics to Kennedy song to %HESITATION the protagonist live under perpetual threat of violence entering
00:38:12potentially perilous situations to make money three both films explore the other America as does my own private Idaho for green room begins as a road movie estimated to be clever facetious I honestly find myself wondering the origin story of amber Imogen Poots from green room and whether she
00:38:29and start a refuge among different crowds to escape somewhere troubles on a lighter note which debt can be Saudi preferred not to punks half off or I kill children you have to ask us some small child into that question it's exactly what I was thinking yeah I I
00:38:45confess I am not familiar with user of the dead Kennedys you really do you don't you don't have to testify about how all free you from it's all there in the song titles basically pretty much it I I think sort of precedents for **** punks off offer them
00:38:59properly aligned with those six I'm not even a single that's true I have fun with this those **** punks up enough not to get that to get political but but I've seen green room service a lot lately I'm kind of an interesting to see it come up now
00:39:11that like in that movie went from being in this what interesting peek into the private seven whatever just below the surface of our culture that the most of us will never encounter to holy S. yeah it's a little longer no it's like Hey we're all trapped by white
00:39:27supremacists yeah now yes around the basement how do we get out yes so the green room does have a special residence and it really was it does fit did feel like an alien experience to tell now and now it is our the horror that we are going to
00:39:43be living in for four years or so which is not in our hand or anything alright yeah we didn't vote for trump sorry if you have a brother if you haven't seen green room maybe what you might you might need to see clear him and apparently it's part
00:39:57of the American the honey extended cinematic universe I I mean if you take two piece point like the image of his character does seem like this is the place where she could have watched up after crawling out of the pond which she free to turtle because her magazine
00:40:14crew doctor by the side of the road she does have that seems sort of like she's she definitely seen some **** she's who can the joy that %HESITATION but she does she does have that same vulnerability could seem combination of like vulnerability and toughness of self awareness of
00:40:33familiarity with the scene and yet kind of an aimless now slick she she does feel like a similar character and a lot of ways im's daughter what movie what movie they fight all trucks well it depends on Joss Whedon availability I don't think they've shot that one yeah
00:40:49are again as always we appreciate when our listeners share the thoughts of the recommendations to reach us you can leave a short voice mail at seven seven three two three four nine seven three zero or email us at comments at next Picture Show dot net we may feature
00:41:06your response on a future episode or posted on Facebook for discussion and that's it for this episode of the next picture show in the second half will bring in moonlight another story about repressed passion with a similar romantic swoon and a taste for old jukebox music what could
00:41:26couples of different sexual orientation with over half a century and a half a world distance apart have in common you'll find out you'll also get to hear this the fact that the third act kind of feels like a one car why movie just kind of put it back
00:41:38in the realm of something I'd I'd seen before in my life that I just watch Scott Sunday while I have ladies I like to touch a white why do we have to be at the level who really will look for that later this week or better yet subscribe
00:41:51to the next picture show on I tunes your pot catcher of choice follow us at Facebook dot com slash next Picture Show and follow us on Twitter at next picture pod so you'll always know when a new episode drops until then spend the next couple of days going
00:42:06to your local little shop repeatedly but the sad beautiful people you are

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