Hollyoaks Analysis: Max's Death

Analysis of Max’s Death, Hollyoaks

The scene of Max’s death in TV soap ‘Hollyoaks’ uses a variety of composition, sound, camera angles, movement, lighting and other micro aspects to represent issues of death and gender in a way that the audience can relate with.

The scene begins with non-diegetic music playing in the background, incorporating the sound of a heart monitor. The music starts with a slower pace, but slowly builds and heightens in pitch. This indicates something fatal is about to happen, adding tension. The sound of the heart monitor links the drama to that of Casualty or hospital dramas, where it is common for characters to die. There is also the diegetic sound of the car being revved which shows that whatever fatal accident is about to occur, it will involve a car and most likely be a car crash. The first action is Tom running across the road to pick up his parachute action figure, this cuts to Max and OB behind the railings, then Nile in his car looking down, as if feeling guilty, and there is a view of Max from his window, out of focus. These shots link the three characters of Max, Tom and Nile, confirming that the events to follow will involve them. The shot of Max and OB through the railings, suggests they are trapped and cannot help Tom, if he is in trouble. The shallow focus shot of Max in view of Nile’s car window, illustrates that Nile’s thoughts are out of focus, and he is confused. All three characters are dressed in dark suits, and Nile in black clothing, black symbolises death and perhaps danger.

This is followed by a fast paced montage of varying shots, Tom picking up his toy; Max running out; Tom throwing his action figure up, from Max’s viewpoint; an unsteady close up of Max shouting Tom’s name as he runs towards him; an aerial shot of Nile’s car speeding around the corner; Tom looking behind him to see Max and finally Nile’s car crashing into Max’s body as he pushes Tom away. The pace of the shots indicates the confusion and chaos that is taking place, as is common with any fatal car accident. The close up of Max running towards the camera shows his urgency and panic, contrasted with the innocence of Tom alone in the road, looking small and vulnerable, implying that he is the victim. The action of the crash, on camera, is brutal and shocking to the audience, as they watch his body crumple; this evokes an emotional response from the audience, giving them a glimpse of reality, as they feel as though they’re actually there, watching it.

The crash is followed by OB’s reaction, as he shouts Max’s name, almost in slow motion and runs over. Tom’s action figure floats down and lands on the curb of the road hitting its head. This cuts to Max lying on the road, with the camera zooming in through the grass, to a close up of his face. The music has suddenly changed to gentle, slower piano piece. The action figure falling represents Max, a hero, hit by a car and lying on the curb. The music indicates that things are slowing down, Max’s life or breathing perhaps, it shows that his life will end. The camera pans and spins out on Nile getting out of his car. It again reinforces the disorientation and confusion of the character, now seen as a villain in the audiences’ eye. OB rushing to Max’s side, shows he is taking control of the situation, shouting “Call an ambulance, now!” and “don’t worry it’s gonna be okay”. This represents males as the dominant figure in situations like this, OB are Max are seen as best friends, dressed in the same suit, with OB trying to comfort Max and Tom at the same time. OB also uses humour, saying “oh listen, don’t be gay” as Max tells him “I love you mate”. This reinforces the idea of typical males, joking around to hold themselves together in dramatic situations. Tom plays the innocent young boy, simply crying, to pull the audience’s heart strings and saying “you’ve got to wake up”. This demonstrates Tom’s youth but also ability not to become hysterical and shows he understands the circumstances. The composition of the shot shows their relationship, the rule of thirds with OB, Max in OB’s arms and Tom over Max.

Steph comes running over, in her wedding dress shouting “no, no he’s not” and bursting into tears. This reinforces the female stereotype, simple being emotional and crying after OB has tried to control things as well as comforting Tom. This contrasts the genders, showing their different reactions in a position when someone’s just died. The dialogue is then muted, and it is only the music playing, a lullaby sound, illustrating the idea of death, being sleep and going to heaven. The camera spins out, on the three men and Steph, with her wedding dress placed around them, in a circle, showing her femininity and seeing her as an angel figure. It could suggest that she is the caregiver now, for Tom as it is like she is encompassing him and her dead husband. The camera zooms out, pans up and fades out to a white light. This has religious connotations, it symbolises that Max is going to heaven, reinforcing the religious representation of death and afterlife. Death is portrayed as fatal, although ends in a better place.

At the end of the scene, there is a short clip of what is supposed to look like handheld recording, a video for their wedding memories. It has Max’s last words on it, showing the finality of his death and part in the show. Dom asks Max, “What is love” and Max answers “The best thing in the world”. It shows Max as a perfect, madly in love male figure, illustrating the happiness that was, and the sadness that now is, with his death. It gives the audience a personal feel, as though they were involved too.