The Darjeeling Limited
Director: Wes Anderson
Production Company: Fox searchlight
Distributor: Fox searchlight
Domestic Box Office: $11902715
Year: 2007
The establishing shot starts without any titles however jumps in with an extreme long shot zooming in to a long shot, this allows the viewer to get a feel for the location/scene setting, the zoom into the long shot gives focus to the who or what the story line is following. The colours are warm and the music is apt to the setting and portray the mise-en-scene of the film being representation of a bustling city scene in India/southern Asia. The pace and mood of the opening is one of urgency that leads the drama.
The following shots start with showing the road and scenery which adds to the exposition. after this the audience is finally introduced to the protagonist after a continued shot that first features the driver then moves to the main character - Bill Murray- which looks out of place with his costume compared to the location and the taxi driver. The dramatic direction also shows the audience that the character is worried and on the edge, this is filmed as a two shot.
Next is a shot is a cutaway that follows the car as it drives though the street. We can see more of the mise-en-scene with the details such as the taxi drivers beard and turban, and the Sikh flag hanging from the rear view mirror. The viewer then sees a medium close up of the driver which quickly changes to a close up shot, this could be seen to reflect the stress as the diver is previously informed of the fast and chaotic driving from the pervious shot of the car, this is solidified by next showing the viewer the scene of the road the driver sees, adding to the narrative enigma. The viewer is reminded of the stress the protagonist is in with the next medium close up of him checking his watch.
The next few shots repeat a similar shot variety pattern of using medium close ups, closeups, cutaways, and two-shots. This could be seen as too repetitive or boring however it could also be used purposefully to build up tension for the protagonists situation. As time goes, just before the driver stops, the music seems to become slightly louder along with the sound effects such as car horns becoming more prominent to signify stress as well, along with short paced fast editing.
This shot shows good variety without having discontinuity, it is a mid shot showing the protagonists movement, the fact it shows the back of him as he leaves makes the viewer feel as if they were in the car with them making the audience want to follow him.
The location changes as a tracking shot follows the main character through the busy warm station keeping with the mise-en-scene. The running solidifies the stressful situation of the signified lateness.
The over the shoulder shot introduces the first narrative in the film - when the protagonist realises he sees his train and that it is leaving. The director didn't use a tracking shot to film the train leaving but a wide shot to show the character doesn't have much hope of catching the train. However perseverance can be seen as a tracking shot captures the character running to catch it, weaving his way through the platform.
After the train seems to be out of reach a mid shot shows the first detail of the train with a contrasted stress free young man looking on to the platform, the camera then moves down to finally reveal not just the title of the film but the name of the train also.
As the next tracking shot shows the protagonist running and shouting for the train to wait, the audience builds up more sympathy for the man. We start to see another man coming out from behind him running for the same train, in the same tracking shot. They look at each other and take a double glance before the music changes to more folky tune, unfitting to the surroundings.
This new character is then followed by a tracking shot in as the viewer sees him run toward the train in slow motion, contrasting the fast stressful pace up until this point. This gives the audience time to collect thoughts and adjust to this new character.
From this long shot the audience are being shown that this new character is who the story line will (also) be following, the transition between characters is signified by the music and the fact the original protagonist is being left behind as the new character looks upon him.
The opening ends with the camera no longer following the original protagonist, but now the new main character with a moving medium close up as he enters the train with relief. The closing shot of the opening and the transition to the main body of film leads the viewer to believe the story line will be following a certain character however changes this near the end. This leaves the audience searching for a link between the two characters as they carry on watching the film.
A memorable aspect of this film would be in which the way in the director composed the shots, he uses symmetry in many of them to create pleasing and beautiful images. As explored here-
Another memorable aspect would be the way in which the camera shots are hand held making them more shaky, this may be to emphasis the urgency of the opening scene and the stressfulness of the situation.
The establishing shot starts without any titles however jumps in with an extreme long shot zooming in to a long shot, this allows the viewer to get a feel for the location/scene setting, the zoom into the long shot gives focus to the who or what the story line is following. The colours are warm and the music is apt to the setting and portray the mise-en-scene of the film being representation of a bustling city scene in India/southern Asia. The pace and mood of the opening is one of urgency that leads the drama.
The following shots start with showing the road and scenery which adds to the exposition. after this the audience is finally introduced to the protagonist after a continued shot that first features the driver then moves to the main character - Bill Murray- which looks out of place with his costume compared to the location and the taxi driver. The dramatic direction also shows the audience that the character is worried and on the edge, this is filmed as a two shot.
Next is a shot is a cutaway that follows the car as it drives though the street. We can see more of the mise-en-scene with the details such as the taxi drivers beard and turban, and the Sikh flag hanging from the rear view mirror. The viewer then sees a medium close up of the driver which quickly changes to a close up shot, this could be seen to reflect the stress as the diver is previously informed of the fast and chaotic driving from the pervious shot of the car, this is solidified by next showing the viewer the scene of the road the driver sees, adding to the narrative enigma. The viewer is reminded of the stress the protagonist is in with the next medium close up of him checking his watch.
The next few shots repeat a similar shot variety pattern of using medium close ups, closeups, cutaways, and two-shots. This could be seen as too repetitive or boring however it could also be used purposefully to build up tension for the protagonists situation. As time goes, just before the driver stops, the music seems to become slightly louder along with the sound effects such as car horns becoming more prominent to signify stress as well, along with short paced fast editing.
The location changes as a tracking shot follows the main character through the busy warm station keeping with the mise-en-scene. The running solidifies the stressful situation of the signified lateness.
The over the shoulder shot introduces the first narrative in the film - when the protagonist realises he sees his train and that it is leaving. The director didn't use a tracking shot to film the train leaving but a wide shot to show the character doesn't have much hope of catching the train. However perseverance can be seen as a tracking shot captures the character running to catch it, weaving his way through the platform.
As the next tracking shot shows the protagonist running and shouting for the train to wait, the audience builds up more sympathy for the man. We start to see another man coming out from behind him running for the same train, in the same tracking shot. They look at each other and take a double glance before the music changes to more folky tune, unfitting to the surroundings.
This new character is then followed by a tracking shot in as the viewer sees him run toward the train in slow motion, contrasting the fast stressful pace up until this point. This gives the audience time to collect thoughts and adjust to this new character.
From this long shot the audience are being shown that this new character is who the story line will (also) be following, the transition between characters is signified by the music and the fact the original protagonist is being left behind as the new character looks upon him.
The opening ends with the camera no longer following the original protagonist, but now the new main character with a moving medium close up as he enters the train with relief. The closing shot of the opening and the transition to the main body of film leads the viewer to believe the story line will be following a certain character however changes this near the end. This leaves the audience searching for a link between the two characters as they carry on watching the film.
A memorable aspect of this film would be in which the way in the director composed the shots, he uses symmetry in many of them to create pleasing and beautiful images. As explored here-
Another memorable aspect would be the way in which the camera shots are hand held making them more shaky, this may be to emphasis the urgency of the opening scene and the stressfulness of the situation.
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ReplyDeleteSophie this is a very good analysis of the opening scene of The Darjeeling Express, well done. Just a few pointers to help focus future analyses... Incidentally, great choice! This is a fantastic opening scene with lots of techniques to learn from.
ReplyDeleteThe opening shot is called an establishing shot and it then (unusually) zooms in on the racing taxi.
The music is certainly a signifier of the setting, South Asia but could we also say something about the pace and mood, which is one of urgency and is also somewhat discordant which lends to the drama I think.
Worth mentioning aspects of the mise-en-scène such as the taxi drivers turban and beard, as well as the Sikh flag handing from the rear view mirror - all cultural signifiers. Also worth describing Bill Murray's character's costume and the contrast of this clearly Western taxi passenger.
There are some aspects of camerawork you could describe better - remember to mention shots that appear to be handheld (shaky) and why these have been used. Also there is an unusual pan on the train platform from the train to the stressed out Bill Murray character (Wes Anderson is known for off-beat films and unusual camerawork).
I'm surprised there was no mention of slow motion, a technique used to great effect in this opening.
I like the fact that you're thinking about creative composition - makes me think you'll aim for beautiful looking shots when you go on to filmmaking, which is fantastic.
Overall a very good first effort Sophie, only let down by a few technicalities. Well done.