Max’s Death Analysis
Every teen drama and/or soap opera requires an emotional storyline or scene every once in a while to ensure its demanding audience receive the entertainment they hunger. From “Eastenders” to “Skins” emotional scenes will grip an audience and keep them hooked. One such example of a scene that does just this is that of Max’s death in the soap opera/teen drama “Hollyoaks”.
The scene opens with many of the cast wearing their finest suits after attending the recent wedding of the ill – fated Max; this is done as a way of suggesting to the audience that all is well and removes any expectations of the disastrous event about to occur. However as we know, soap operas will often turn seemingly pleasant events on their heads to secure a gripping and emotional death scene. The camera then quickly moves to a tracking shot of the young child as he chases after his parachuting toy before again changing to two fast close ups, one of the soon to be murderer and one of Max. The use of non - diegetic sound can be heard as the music heightens resulting in a build up of suspense, while diegetic sound in the form of the revving of a car engine and the screams of Max to warn off the endangered child are layered on top furthering the emotion. The camera once again changes to a tracking shot of Max, stopping just as he manages to push the child away and is propelled over the Cars bonnet. The camera makes one final change to the image of the parachuting toy, this time instead of gliding smoothly it smashes against the curb, a direct metaphorical reference to Max. In around ten seconds the mood of the event has turned from cheerful and enjoyment to disaster and shock.
As Max lies still in the road, the music changes to a softer more mournful sound, and non-diagetic use of a heartbeat sensor can be heard mingled within the soundtrack, suggesting ideas of death and peacefulness. The camera switches once again between close ups of the killer and Max suggesting that these are the two key members of the scene and could arguably suggest the idea that the event was a duel between the loving newlywed Max and the emotionally unstable driver. As the camera pulls out we see passer bys arrive at the scene and the emotional dialog between the two best friends begins to unravel. The dialog consists of friendly banter between the two even though the incident will leave Max dead. Max reveals his emotion for both his wife and OB by telling him “he loves him” the reply from OB continues this idea of a friendly yet emotional exchange of words “Don’t be gay” he mournfully replies suggesting even now in the last few minutes of their friendship he still wants to joke about and just pretend nothing has happened, while secretly the close up of his eyes tells us much more, he is beginning to realise the magnitude of the incident and is dreading the thought of losing his best mate. As much as he tries to cover up these feelings as the dialog continues it becomes much more apparent.
As max falls silent into the arms of OB, the young Tom cuddles him suggesting they have a stronger relationship than that of Max and his wife, a relationship of brotherly love and the bond between the best of friends. As the camera goes to a mid shot, Steph comes into view behind them still wearing her white wedding dress, suggesting ideas of purity and innocence. She cradles her dead husband and her wedding dress covers the pavement suggesting ideas that her purity and innocence has now been mixed in the dirt and grime of the villainous affair. As Ob, Tom and Steph surround the body, the camera begins to pan out and towards the sky, the peaceful music begins to reappear and the camera makes a final accent into the sky. Suggesting that Max’s spirit is floating up into the heavens where he will at last have peace.
The scene opens with many of the cast wearing their finest suits after attending the recent wedding of the ill – fated Max; this is done as a way of suggesting to the audience that all is well and removes any expectations of the disastrous event about to occur. However as we know, soap operas will often turn seemingly pleasant events on their heads to secure a gripping and emotional death scene. The camera then quickly moves to a tracking shot of the young child as he chases after his parachuting toy before again changing to two fast close ups, one of the soon to be murderer and one of Max. The use of non - diegetic sound can be heard as the music heightens resulting in a build up of suspense, while diegetic sound in the form of the revving of a car engine and the screams of Max to warn off the endangered child are layered on top furthering the emotion. The camera once again changes to a tracking shot of Max, stopping just as he manages to push the child away and is propelled over the Cars bonnet. The camera makes one final change to the image of the parachuting toy, this time instead of gliding smoothly it smashes against the curb, a direct metaphorical reference to Max. In around ten seconds the mood of the event has turned from cheerful and enjoyment to disaster and shock.
As Max lies still in the road, the music changes to a softer more mournful sound, and non-diagetic use of a heartbeat sensor can be heard mingled within the soundtrack, suggesting ideas of death and peacefulness. The camera switches once again between close ups of the killer and Max suggesting that these are the two key members of the scene and could arguably suggest the idea that the event was a duel between the loving newlywed Max and the emotionally unstable driver. As the camera pulls out we see passer bys arrive at the scene and the emotional dialog between the two best friends begins to unravel. The dialog consists of friendly banter between the two even though the incident will leave Max dead. Max reveals his emotion for both his wife and OB by telling him “he loves him” the reply from OB continues this idea of a friendly yet emotional exchange of words “Don’t be gay” he mournfully replies suggesting even now in the last few minutes of their friendship he still wants to joke about and just pretend nothing has happened, while secretly the close up of his eyes tells us much more, he is beginning to realise the magnitude of the incident and is dreading the thought of losing his best mate. As much as he tries to cover up these feelings as the dialog continues it becomes much more apparent.
As max falls silent into the arms of OB, the young Tom cuddles him suggesting they have a stronger relationship than that of Max and his wife, a relationship of brotherly love and the bond between the best of friends. As the camera goes to a mid shot, Steph comes into view behind them still wearing her white wedding dress, suggesting ideas of purity and innocence. She cradles her dead husband and her wedding dress covers the pavement suggesting ideas that her purity and innocence has now been mixed in the dirt and grime of the villainous affair. As Ob, Tom and Steph surround the body, the camera begins to pan out and towards the sky, the peaceful music begins to reappear and the camera makes a final accent into the sky. Suggesting that Max’s spirit is floating up into the heavens where he will at last have peace.
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