Better Caul Saul: Address Unknown

“Best case scenario, I’m managing a Cinnabon in Omaha.” — Granite State, S05, E15

If you’ve been following with Breaking Bad, you’ll know that Saul Goodman went off on his merry way with a new identity, and a new life.

That new life just so happens to be managing a Cinnabon in Omaha.

Breaking Bad definitely satisfied in the cinematography department, and everyone’ll be glad to know that Better Call Saul doesn’t disappoint. The first episode is, so far, my favourite, and I’ll take a little out of your time to talk about why.

The episode opens with The Ink Spots’ “Address Unknown”, which is pretty fitting for the situation; Saul is off starting a new life somewhere unbeknownst to the viewer. To viewers only just joining us, the song, the black and white, and Saul’s apparent dissatisfaction gets across the point that he’s keeping a low profile.

It’s important to note that Black and White is a technique almost universally reserved for flashbacks. Here, we’re seeing events post-Breaking Bad, so that doesn’t apply. It’s not a flashback for Saul, it’s a flashback for us.

It’s what TV Tropes likes to refer to as a ‘Downer Beginning’: the great Saul Goodman went from supporting a worldwide crystal meth kingpin to making cinnamon buns. Not only that; he looks sad, nervous, and completely indistinct from everyone else in the shopping mall. The symmetry and geometry of the shot lead to Saul and point him out to us, but only because we know what to look for. Even in the middle 3rd (vertically and horizontally) of the frame that he occupies, Saul is tiny and insignificant.

“I’d give anything in the world just to see the face of you”

The music perfectly syncs up with the man seemingly staring at Saul, which suggests even more that he’s in hiding. Considering the events of Breaking Bad, it makes sense that Saul would have a niggling fear of being recognised or found — which may just be what the man represents.

This shot suggests an important piece of characterisation: after working the day away at his unsatisfying job, Saul goes home, gets clumsy drunk, and watches tapes of the old life he wishes he could go back to. His current life is like a gilded cage: it’s nice enough and comfortable, but Saul can’t let himself rise anywhere above it lest his new identity is compromised. All in all though, I don’t like the shot itself, it looks uninspired and cliché.

The paranoia Saul has to live with is perfectly illustrated in these two shots. They’re both candid, taken from behind something as if from the Point of View of a hidden watcher.

This is, undoubtedly, the introduction’s most important shot. The subtle splash of colour in Saul’s glasses as he’s watching tapes from his past, our past, show that Better Call Saul is the now, Gilligan’s way of saying: “Shh, it’s time to leave Breaking Bad behind”. Likewise, the splash of colour signifies a Happy Flashback: watching those tapes and reminiscing is the only thing that makes him happy.

Cue the faux-90s title card and Saul’s transition from a criminal lawyer to a criminal lawyer begins.

To be continued…