In The Mood For Love - Wong Kar-wai





INTRODUCTION



This review is written in attempt to determine mise-en-scène and mise-en-shot in the film In The Mood For Love directed by Wong Kar-wai in 2000. The theory to use is semantic and syntactic approach to composition.



THEORY DISCUSSION



Mise-en-scène designates setting, lighting, spacing, costume, staging and acting, and special effects in a film. It describes the stuff in the frame and the way it is shown and arranged within the frame. 

Meanwhile mise-en-shot covers camera position, camera movement, shot scale, length of shot, and pace of editing. It's a process of translating mise-en-scène into film through filming. 

SYNOPSIS


Chow Mo-wan is a newspaper editor who moves into a new building with his wife. At the same time, Su Li-Zhen, a beautiful secretary and her executive husband also move into the crowded building. 

With their spouses often away, Chow and Li-zhen spend most of their time together as friends. They have everything in common from noodle shops to martial arts. 

Soon, they are shocked to discover that their spouses are having an affair. Hurt and angry, they find comfort in their growing friendship even as they resolve not to be like their unfaithful mates. 


ANALYSIS



In the film, the same music was played repetitively in almost every scenes that were in slow-motion especially at the entrance of building to emphasize on the unusual feelings as well as the ambiguous relationship between Chow and Li-zhen. 

The camerawork was smooth, especially moving shots. Its movement along with the iconic background music was able to build sensual mood easily in the film. Besides, there were also a lot of close-ups in the film to indicate the small interior space available in the building and to create a sense of suffocation for audience. 

Noticing the absence of both their partners in the film, it was a brilliant way to imply that the cheating partners were already absent in the characters' life anyway, so there was no need for the unfaithful partners to make appearance in the film since the very beginning. 

The filming sets were well-designed with different types of lighting according to different mood, environment, and story requirement. There were yellow lights, red lights, high contrast lighting, motivated lighting and more for different scenes to match the atmosphere and build mood.

Mirror was frequently featured in the film by director to portray the character in different way and make use of reflection in limited space in the room. The pace of blocking was also well planned by director to maintain the slow and graceful pace of the film regardless running, walking or sitting scenes. 



CONSLUSION



Wong Kar-wai had really thoughtful and brilliant filming style and it can be clearly seen through the film In The Mood For Love. Every composition of camera movement, lighting, pace and blocking were nicely designed to tell stories visually.



REFERENCE






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