Filmography Notes on the Opening Scene of the Darjeeling Limited

solid paced Indian music builds tension even before the spring credits have stopped rolling Establishing guess indian city, spot not showed as india at this point the viewer associates the architecture as foreign in some strange location, one motorcar on the road, depth micturated by background being out of focus and tether occupancys gaind by the road. High angle extreme long shot, zoom to kick downstairs trailing shot of taxi political hack and plurality in exotic attire and foreign style tricycle cabs, gives the viewer more info near setting while the tracking of the car establishes the subject of viewingInside the cab we have a rig attached to car on rider side tracking shot representing the perspective of the passenger reveals the fare mebibyte in the amend third of the shot letting the viewer hump that the car is a cab, the human body is equilibrize by cars and people on the go away side of the street opposite the cab far meter, the sort quick pans to cre ate a fast pacing and to reveal drudge number one wood. he has a beard and is wearing a turban, a contour of India from a western viewpoint, also is a skeletal system within a ramble because of drivers side window.From inside the car the photographic camera is turn oned on the pelt alongboard of the cab to show the audition the passenger, Bill Murray. The taxi driver is move in the left third while the passenger is placed in the castigate third, the cabs frame serves as leading lines creating depth in the frame His business man attire contrasts the taxicab drivers outfit and the setting, demonstrate he is a foreigner in this country, the reckless maneuvering of the cab, honking and engine sounds, and the frenetic look on his face tells the audience that the passenger is worried some being somewhere on succession.Low angle tracking shot bottomland the car creates a tension and intensity by creating a ruling of the car moving scurrying as the camera moves further away, honking and cycle engine noise fading in and out create the thaumaturgy of the speed of the taxicab Close up on cab driver, indeed zooms in again to extreme restricting up to allow the audience to focus on the cab drivers intense focus, facial expressions help viewers to feel the e querys the director wishes to convey, here his intense expression and the background escape by in the frame of the window.Next shot is from bill Murrays perspective, oer the articulatio humeri shot over the cab driver looking out the warmness of the windshield as they race thru the busy city street, frame within a frame, shot is balanced by colorful awnings, signs, and tall buildings on the right and people in bright clothing walking on the opposite side of the street. The cab fare meter also rests on the bottom left to balance out the cab driver and way wheel who are on the right.The camera accordingly flips approximately to reveal the anxious look on bill Murrays face as he checks his wat ch again revealing that he is on some fashion of deadline creating tension and fast pacing in the scene the back window is once again a frame within a frame and the camera is placed at pretty below eye level, shot therefore switches to the cab drivers point of view though lowered to about his chest level, the steering wheel is revealed to have a symmetrical in fuddled like set up of beads and small paintings of people and a temple, the steering wheel frames the entire shrine like setup, the drivers hand is balanced by the red sticker on the right of the dashboard, outside of the windshield colorful and exotic scenery faeces be meetn, shadows of cars created by congenital lighting and the yellow guardrail separating the street create leading lines with child(p) depth to the background.The next shot is a tracking shot at the front of the cab, the shot has incredible depth thanks to the leading lines of the buildings line the street, frame centered on the taxicab as it barely misses motorcyclists and medians, close up on bill Murrays vitrine placed in the right third of the shot, his face still showing distress, the camera then continues to rebound rapidly from the same shots in and around the cab to promote the adept of urgency until the cab pulls up to the entrance of a fit station, the camera takes a static shot as the cab pulls in to be centered in the frame, people in vibrant Indian turn are placed evenly on either side of the car as It pulls in creating a well balanced closed frame with depth being created by the awning of the train station and the lines it creates, people also placed in foreground and background, otherwise flat frame, real still photo-like shotAs Murrays character exits the car the camera is positioned outside the cab and zoomed in on the face of the driver, the zoom is slowly pulled out to represent the exploit of the subject as the passenger flees from the cab in too some(prenominal) of a hurry to pay, the cabbie angrily shakes his fist and screams in Indian, another index number of setting in the opening scene The camera then observes Murrays character through the train station, in first a handheld tracking shot to create the effect of running like the character does and then a dolly tracking shot, people are placed in the foreground to create the feeling of crowdedness at the station and the camera follows property a 45 degree angle behind the subject to create leading lines in the station, the subject is also always kept in the right third to create a more interesting shot.At the slating counter the camera is behind, peoples forefronts cropped tightly in the frame to again create the feeling of crowdedness of the train station, the positioning of the camera gives the audience the feel of rest in line as Murrays character barges on and cuts to the front of the line saying thats my train finally reveals to the audience what the conflict is in this scene, pointing get through screen, the cha racters actions and the cropping of people and the fence of the ticket counter create an open frame that leads to the next shot of the train pulling away from the station, then a sudden pan to the businessman running into the frame, chasing the train ,to maintain the fast and urgent pacing. A handheld tracking shot follows Murray as he runs along the boarding platform after the train he was trying to catch, as Murray runs past the camera, the camera pans to follow behind him and reveals the train, moving slightly faster than the businessman can run The next shot then frames the back of the caboose and an Indian boy standing in the right third of the frame, the camera slowly tilts down to reveal the name of the train the Darjeeling curb and also the title of the movie An extreme close up profile of Murrays character as he screams wait WaitMurrays head hides a younger man, adrien Brody, who comes into view as he runs slightly faster past Murray. They exchange glances as brody outrun s murray in a mad dash for the train. While the audience has been lead to believe that the businessman was the protagonist we were to follow on this adventure he instead falls behind Fast paced Indian music cuts out and a slower song this time tomorrow by the kinks begins to play, the next shot is a slow motion dolly tracking shot following the train in the left third of the frame as brodys character, peter enters into the frame from the right, he catches up to the back of the train, throws his bags on, and hoists himself on the train.Natural light brightly illuminates the background, the shot is slightly over exposed to augment the intensity of the sun in the shot, His look can be seen looking off screen and then a close up reveals a sympathetic look on peters face, he pulls up his glasses showing that he is looking at something, the camera flips around to his perspective in a dolly shot or mount on the back of the train, the train tracks and boarding platform lead our eyes back t o the businessman who has been left behind by the train, Murrays character looks spent and disgusted. Another close up of Peter, he smiles, grateful that he did not end up like the businessman, also here we can see shadows closely, because of the natural lighting used throughout the lighting techniques were somewhat limited The slowing of the music and the slow motion shots bring the pacing of the bring back down to the signature slow and deliberate pacing of Wes Anderson films