art vs. reality
by Douglas Messerli
Jason Karman (screenwriter and director) I'm
in the Mood for Love / 2010 [7 minutes]
Canadian director Jason Karman presents us
with two different scenarios in his charming short film I’m in the Mood for
Love.
In the first half of this film, a cute young man, John (Kyle Toy)
spots his old boyfriend, Carl (Ed Fong) with his new lover, Trent (Julian
LeBlanc) at a Chinese restaurant to which he and John had often dined in the
past. The two apparently have only recently broken up, and John badly regrets
the situation, still having deep feelings for Carl. He approaches the table,
completely ignoring Trent and begs Carl to give him another chance, to possibly
begin a new relationship. Carl explains that it’s impossible, and Trent tells
him several times that he should leave—without success. The situation threatens
to turn into a contentious situation, when, out the blue, John strikes up the
song “I’m in the Mood for Love,” singing all of its lyrics by Dorothy Fields and
Jimmy McHugh:
I'm in the mood for love
Simply because you're near me.
Funny, but when you're near me
I'm in the mood for love.
It
is so totally unexpected, and John sings it, slightly off key, so very
engagingly that even Carl has to smile in wonderment, while at the very same
moment Trent grows increasingly mean-spirited. But when it’s over, Carl again
responds that their relationship is over.
In
the very next moment, as John stands at the entrance where we have seen him
standing as the movie began, we realize that the above scene has all been a
fantasy. This time, as he comes out of his trance, he asks for a table for one,
passing by the two lovers and politely greeting them, Carl introducing John to
Trent, with the two politely interacting, Trent explains that he has brought
back the new hat which tops Carl’s head from Winnepeg where he was competing in
a figure skating competition.
When Trent asks what John does for a living, he pauses before explaining
that he sings telegrams, Trent suggesting he perform one of his numbers. John
suggests that he doesn’t necessarily need to, obviously afraid of the
consequences, but Trent repeats his interest in hearing a performance. John
sings a few bars of the same song, before trailing off and reassuring Carl that
he’s fine as he heads off to his own table.
This time John’s behavior, despite the possibly of his still being “in
the mood,” is civilized and polite. His actions make sense and explain the
previous imaginary encounter. I must admit, however, since I seldom prefer
“reality” over the imaginative truth of art, I preferred the first version with
the astonishment of John’s turning his feelings into song, the way stage
musicals make life over into something far more charming and romantic than a
touristy Winnepeg bear hat.
Los Angeles, April 16, 2023
Reprinted from World Cinema Review (April
2023).
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