ses are having an affair with each other, both were very dejected, started to fill the gap in their lives by bringing more emotions to their friendship. The theme of the story was melancholic depicting how two disheartened and deceived people found peace with each other’s company although they thought not to be as their spouses.
It has been said that Wong has created moody atmosphere using a combination of mise-en-scene, cinematography and his unique direction in the movie. The most inspiring aspect of In the Mood for Love is its brilliant cinematography. Most of the scenes in the movie were shot with the normal lens in order to avoid visible distortions so that the viewers can feel being the part of the movie themselves. The closed shots and close-ups were taken from the telephoto lens as it gives a feel of personal encounter to the viewer. In an interview, Wong declared that he wanted to shoot a movie like Vertigo by Hitchcock in which most scenes were taken outside the frame leaving the rest on the viewer’s imagination. Many of the scenes were shot from behind the windows, partitions and grills in order to create suspense as asserted by the director. Another important aspect of cinematography is Wong’s direction was the use of tracking shots to slide flawlessly between spaces. (Roger 105).
Wong by emphasizing on the cinematography kept most of the scenes longer so that the audience would not be interrupted by the cuts and scene transitions. This also helps the audience in getting indulge within the plot and sink with the story line. Christopher Doyle and Pin Bing Lee, the cinematographers of the movie have been acclaimed great appreciation on the brilliant work they have done in the movie. Critics claim that the missing elements in the movie like music or dialogue in some scenes were amazingly covered by intelligent framing and filming of the characters which give us enough detail about the scene and the story. They used techniques like lowering the