In the movie 'Essex Boys', directed by Terry Winsor, the director uses metaphorical space to foreshadow the rest of the movie- whether that be plot or a character's personality trait. This is accomplished with many different techniques, with each frames' composition, light source and prop placement being thoroughly thought out- including the mise en scene and lighting.
First of all, in this shot the narrator is currently describing the character which we can see standing in front on the car. We come to learn that he has been out of prison for a measly 24 hours, with the context you can therefore come to the conclusion that this framework of the shot has not been stumbled upon, in fact it as been specifically set up like so. It is set up like this to make this character look physically and metaphorically imposing, with the single light source behind him possibly signifying that he has been in the dark for sometime (prison): and is now ready to be in the limelight to reap his revenge. To further this point, all we can see around the character is darkness, with all the focus being homed in on him: this could connote ideas to the audience that he is a dangerous and unforgiving character. Finally, the colour pallet used, although difficult to depict with the darkness, the character is wearing a bright yellow shirt and a purple leather jacket- the director could have seen this as an opportunity to express the characters lighter side, who will appeal more to the audience. On the other hand, this choice of outfit could be seen as attention seeking, that the character has a knack for getting under peoples skin.
Furthermore, in this shot we can see the two driving the car into a tunnel and when they arise from the other side they're greeted by the 'Welcome to Essex' sign post. At first thought this can be seen as the director giving the audience some context of what the car journey's destination is, but it could have a deeper meaning. For example, the sign post could resemble the divide of Essex from the rest of England- in a way that the place and people are so different to the rest of society that a big deal needs to be made when visiting there. Different in a way that they need to be segregated by a long, dark and meaningful tunnel from everybody else. In addition, the way in which the director has used vanishing lines to give the effect of a never ending doom for these characters gives the still foreboding tension. Finally, the choice of time and weather gives the overall shot another great layer: because of the wet on the road and dark/gloomy sky, in parallel to no one else driving, gives the whole sequence of shots an aura that something dangerous is about to occur.
However, in the final shot of the opening the director uses a variety of metaphorical points that offer different viewpoints. To begin with, the director uses vanishing lines when framing this scene with the road that cuts straight through the middle of the shot. This effect gives an ideology that this character is stuck on this land for a very long time, coincided with the fact that there doesn't seem to be any form of civilisation for miles, and that the boggy landscape doesn't look earth like. To add, the path that has been travelled by the characters reflects the age of the location- with its green mossy appearance and worn down muddy tracks all works with the metaphor for loneliness and baron. Furthermore, the way in which the director has composed the frame to have the character brushed aside from the middle of the screen also backs the idea that he is lonely, defenceless and in danger. The way in which he falls to the ground could be a metaphor for his downfall in society- from what looked like a director of a company, to a man having to fend for his life in the middle of nowhere.
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