Black and white cinematography, a timeless technique, has been a favorite among filmmakers for its ability to create high contrast images that direct the viewer’s attention to pivotal elements within the scene, be it a character or a significant object that demands emphasis. In the world of black and white, shadows and darkness take on a greater sense of gravity, making the presence of light all the more striking. A well-lit frame exudes vibrancy and a sense of security, while a solitary, brilliantly illuminated element might assume an aura of foreboding within a sea of enveloping darkness. Vince Gilligan’s Better Call Saul artfully harnesses the stylish allure of black and white, employing sharp lines of light and drawing inspiration from film noir to accentuate the mounting apprehension experienced by the show’s central character as metaphorical walls close in around him.
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Although many associate black and white with classic cinema and television, Better Call Saul makes a unique choice by portraying its modern-day sequences in black and white, while the core of its narrative, set before the events of Breaking Bad, unfolds in color. Initially, this creative decision may feel slightly disorienting, prompting viewers to remember that the shift to monochrome signifies a leap forward in time, beyond the entire narrative of a previously aired TV series. However, the monochromatic presentation proves fitting during the series finale, where the show’s protagonist confronts the uncomfortable truth that his moral ambiguity can no longer shield him from personal accountability.
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Setting the Stage for the Finale
Better Call Saul weaves an enthralling narrative centered around the complexities of morality. Saul Goodman, portrayed by Bob Odenkirk, is a sharp-witted yet morally flexible con artist turned lawyer. His very survival hinges on his remarkable talent for talking his way out of perilous situations. Kim Wexler, played by Rhea Seehorn, is the love of Saul’s life and shares his intelligence and aptitude for deception. However, she draws the line at causing harm to the innocent for personal gain, serving as a moral compass amidst Saul’s increasingly questionable actions.
Kim’s presence is a counterweight to Saul’s self-serving tendencies, reminding him of the importance of boundaries and the need for empathy towards potential victims. Yet, Saul’s allure also pulls Kim into the world of grifting and confidence tricks, exhilarating yet risky endeavors that she begins to find enticing.
As the carefully calculated schemes turn perilous, Kim makes the difficult decision to end her relationship with Saul, believing they are “bad for each other” due to the suffering their actions cause to others. With Kim no longer in his life to serve as a moral check, Saul’s transformation accelerates, leading him from an occasionally empathetic hustler to a fully self-serving trickster. This descent ultimately aligns him with the emerging drug lord, Walter White, in Breaking Bad.
Trapped in Black and White
Black and white cinematography possesses a unique ability to envelop an object or image in darkness, creating a sense of confinement within a 16:9 frame. In the series finale, “Saul Gone,” the moment when Marion (Carol Burnett) uncovers the truth that the seemingly kind Gene is actually the fugitive con artist Saul Goodman, the visual storytelling takes center stage. Marion promptly contacts Life Alert to report him, while Saul hastily makes his way to his car.
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This pivotal scene brilliantly employs film noir-inspired black and white lighting to encapsulate Saul within dark rectangles, heightening the tension. Initially, we witness Saul bending down to retrieve his dropped car keys, with the lower part of his vehicle dominating the upper frame, emphasizing his desperation amidst the surrounding shadows. As Marion peers out the window at Saul’s fleeing car, her head remains veiled in shadow, casting darkness over a third of the shot. The camera then pans to follow her gaze, symbolizing Saul’s temporary escape before his inevitable reckoning.
The subsequent sequence draws inspiration from David Fincher’s Se7en and Carol Reed’s The Third Man, immersing Saul in darkness as he searches for his hidden valuables. From the perspective of the hidden compartment, we watch him frantically reach for the box, with shadows dominating the frame and a small square of light framing Saul himself. Just as Saul appears to have evaded capture, the scene transitions to daylight. He takes a moment to collect himself, facing an inviting horizon. However, the distant whirring of a helicopter overhead disrupts his respite, urging him to hasten his pace toward a dimly lit tunnel.
As he enters the tunnel, his figure shrouded in shadow and reduced to a silhouette, Saul ventures further into an uncertain fate, with daylight retreating behind him. This masterful use of black and white cinematography underscores the impending consequences of his actions, adding depth and nuance to the narrative.
Noir to Run
When Saul finds himself captured and confined to a stark holding cell, the use of black and white framing becomes even more prominent. In a particularly striking moment, an overhead shot captures Saul through a wire grating, unmistakably portraying him as a trapped creature, pacing with frustration, dismay, and self-loathing. It’s as though he’s enacting a scene from classic film noir detective stories or even a morality play. As he repeatedly mutters, ‘This is how they get you?’ to himself, he traverses a sliver of light that descends into the room, akin to a divine ray from the heavens, seemingly beckoning him to kneel and seek redemption.
However, Saul’s anger and egocentrism prevent him from embracing acts of contrition. Instead, he forcefully pounds on the door, chastising himself in the process. His descent to the floor reveals a piece of graffiti that unexpectedly shifts his mood. The graffiti reads: ‘My lawyer will ream ur ass.’ This discovery elicits laughter from Saul, and as he chuckles, the camera withdraws, flanked by twin diagonal shadows on his left and right. This visual cue signifies his decision to revert to his manipulative tactics to evade punishment, rather than facing the consequences of his actions. Saul willingly departs from the light, immersing himself in the encroaching shadows as he pounds on the door, demanding another phone call.
Slim Pickens When It Comes to Justice
His meeting with the prosecution, alongside Breaking Bad’s Marie Schrader (Betsy Brandt), no longer mirrors the hand-wringing melodrama of yesteryear’s cinema; instead, it takes on a resemblance to the war room in Dr. Strangelove. The wide shots, close-ups, and diagonal compositions featuring seated characters gathered around a table, set against dark-paneled walls and an ominous overhead light, evoke memories of Stanley Kubrick’s iconic dark satire. While Kubrick’s film features an oval-shaped room, the similarities between Strangelove’s detached, unsympathetic discussions of tragic events and Saul Goodman’s cynicism are striking. Saul feigns emotion briefly, only to reveal his willingness to employ his acting skills to manipulate the jury and potentially escape conviction if the case proceeds to trial.
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To Saul, these proceedings are nothing more than a game he’s poised to win, and he takes delight in taunting the prosecution with the knowledge that he could easily evade punishment if he so desires. His unsympathetic demeanor serves as a stark reminder that Saul readily applauds his own deceptions, regardless of the harm they cause, as long as he can employ his cleverness to mitigate his own discomfort. It’s darkly ironic that the very behavior that led Saul down the path of countless crimes might ultimately enable him to evade significant consequences. In this scene, director Peter Gould employs visual cues to draw a parallel with Dr. Strangelove, highlighting the dark irony present in both works.
How Saul Was Framed
In a breathtaking courtroom twist, Saul relinquishes his chance at a lighter sentence by confessing to his crimes and, more importantly, his sins before the court, with Kim as the primary audience he hopes to convince of his continued worthiness of compassion. The scene commences with a walk down to the courtroom, accompanied by the soulful song “All Things Are Possible” by The Harmonizing Four. The deliberate camera movements and meaningful glances set to music evoke the stylistic nuances of the Coen Brothers, masters themselves of black and white cinematography and references to classic noir.
As the hearing gets underway, the director cunningly misleads the audience, creating the impression that it’s Kim, not Saul, who will suffer due to the proceedings. A striking piece of framing reveals Kim through the slats of the defendant’s bench, with a circular embellishment within the wooden structure resembling the crosshairs of a gun aimed squarely at her. When we cut to Kim for reaction shots, her body language exudes tension, and the framing evokes a classic crime drama, in which Kim assumes the role of a concerned mother about to witness her son’s execution for his transgressions. It’s a skillful misdirection, setting the stage for the third act of Saul Goodman’s magical performance: the prestige.
As Saul approaches the podium, he is bathed in bright light, while the rest of the room, except for the judge’s bench, remains shrouded in darkness and foreboding. When he testifies, revealing the unvarnished truth about his crimes and wrongdoings, the ceiling resembles the ominous, stormy clouds overhead. However, Saul himself is illuminated by a radiant white light, as though he’s finally embracing the truth. When Saul speaks of his late brother Chuck, we see his perspective from an unusual angle: an exit sign, emitting the same electric buzz that tormented Chuck during his lifetime. In this moment, the room seems to brighten, as if Chuck may be looking down on his brother. Saul concludes his confession by declaring that he is Jimmy McGill, the name he was born with, signifying his earnest attempt to be wholly honest. While his words may condemn him in the eyes of the law, they provide Saul, now Jimmy once more, with a semblance of emotional catharsis.
Black, White, and Morally Gray
Once again, the god rays cast sections of the room in a cage of light. Strikingly, they seem to shine most brilliantly over Kim herself, Jimmy’s last flicker of hope, humanity, or compassion. As Jimmy joins Kim for a cigarette within the confines of that sunbeam, light converges with darkness in a poignant final moment together.
Director Peter Gould’s masterful use of black and white to guide the viewer’s gaze and enhance the composition of his shots is truly remarkable. He invokes memories of classic black and white films while simultaneously symbolizing Saul Goodman’s journey out of the abyss and toward the illumination of truth. Although Saul dazzles as a flashy lawyer amidst the murky grays of morality, he finds a glimmer of redemption in the stark contrast of monochrome. By accepting the consequences of his dark deeds, Saul Goodman undergoes a transformation from a cunning conman into an honest man, allowing Jimmy McGill to finally step into the light.
Source: https://dominioncinemas.net
Category: TV FEATURES