THE DARJEELING

LIMITED

Establishing shot accompanied by non-diegetic sound: an Indian-influenced score

Zooms-in to direct attention to one significant taxicab, music intensifies. Tension Is made and already there is an immediate disruption to an/the equilibrium.

Contrast in body posture: it is evident that Bill Murray’s character is in a hurry

Tracking shots allow the viewer to be part of the scene, thus it is more effective in creating tension and a frantic feeling in the fast-paced scene

A POV shot from the driver’s perspective, like the tracking shot, involves the viewer. However, it gives them a more first-hand experience- as if they are actually driving the cab

I liked this shot because of its framing. The mise-en-scene displays the contrasts in society where the film is set: India.

Tilt downwards reveals the title-card.The boy in yellow seems both significant and insignificant. The fact that he is wearing the main colour of Wes Anderson’s palette, implies how he is part of the picture. But the fact he blends in so well can also suggest how he poses no importance.

[slow motion, This Time Tomorrow by The Kinks]

It is revealed that the Bill Murray actually isn’t part of the main cast. We are introduced to a main character who happens to appear out of nowhere

A sense of regret can be seen in the protagonist’s face as he looks back. This scene can be symbolic; already it alludes to the act of leaving things behind / moving forward, which is a concept that pops up in the film.

Eyeline/action match.

From the opening, we are introduced vaguely to the protagonist. His short introduction (the way he enters the scene) reveals his character nonetheless. I think the opening ends here, he has just boarded the train and thus signifies the beginning of the journey he will embark on which is the body of the film