Wallander (Firewall, 7/12/08, BBC1) Opening Sequence Analysis

The sound at the beginning of the sequence slowly rises in volume and pitch until it reaches a climax. This builds up the anticipation for what is about to happen next. At this point in the clip, the audience are given very little information, therefore the dramatic sting in the sound is disorientating as the audience do not know what is happening. The sound itself is a mixture of hyperbolic, diegetic wind and non-diegetic sound effects.

The meaning behind the emphasised wind is to suggest that the setting is remote and isolated. The shot of the sea, tilting up to reveal a coast/island reinforces this idea of isolation. Later in the sequence, as the girls are walking away, the absence of dialogue raises suspicion and implies they may be in shock. The sound of hyperbolic footsteps treading on the grass is present instead.

This creates an atmosphere of isolation, both literally and metaphorically, as both of these girls must be mentally damaged to break bad and injure a taxi driver near to death. The sound of the radio can be heard in shot within the car. The radio is very muffled and is unable to be understood. This adds to the idea that the setting is very isolated and it would mean that getting a good connection would be difficult. It also demonstrates that the engine is still on and therefore was not parked and turned off conventionally.

The mise-en-scene uses multiple features to show the audience how isolated the setting is. The initial establishing shot of the ocean has connotations of being vast and empty. As well as this, the large amount of greenery shown when the camera tilts up gives an impression that the area is untouched by man.

The two shot of the girls shows that one has dyed hair and a leather jacket. This indicated to the audience that she is possibly the more rebellious of the two. However, the camera is placed behind the two girls to withhold information from the audience about them.

At this point, we can only use stereotypes about rebels to make assumptions. Once the girls have been revealed to the audience; information is given to them. The blood spattered on the red-haired girl’s neck and chest confirms that they were involved with the taxi behind them. Their cold and expressionless faces allow the audience to comfortably assume that they are responsible for the man’s injuries.

The picture of the driver with possibly his son makes the audience sympathise with this character and makes the idea that this attack was justified unlikely.

The large frequency of extreme close ups from within the car gives the audience puzzle pieces to give them an idea about what has happened, however does not allow them to see the whole picture.

Extreme Close Ups within taxi

This withholds information from the audience to allow them to actively work out and interpret what has happened. Information is also revealed slowly with the two female characters. Initially, they are distorted from the audience placing the camera behind them, however as time goes on, the shots of the girls show them more and more. The medium-tracking shot of them walking away from the car shows both of their body language and expressions. As the camera go back and forth between them and the car, it gets closer to the red-haired girl, portraying that she is the main focus. At this point, the less important girl is also out of frame to strictly put the audience’s attention on the closer one.

The cross-cutting between the girls and the man in car continuously suggest that they are responsible for what has happened to him. This editing allows the audience to despise the girls more and more as they are made to simultaneously sympathise with the taxi driver. The duration of the initial shot contrasts with the fast pace and tension of the following shots. This demonstrates how the calm and isolated setting contrasts with the events that unfold within the sequence.