Establishing shot indian city, while not revealed as india at this point the viewer associates the architecture as foreign in some exotic location, one car on the road, depth created by background being out of focus and leading lines created by the road. High angle extreme long shot, zoom to reveal tracking shot of taxi cab and people in exotic attire and foreign style tricycle cabs, gives the viewer more information about setting while the tracking of the car establishes the subject of viewing
Inside the cab we have a rig attached to car on passenger side tracking shot representing the perspective of the passenger reveals the fare meter in the right third of the shot letting the viewer know that the car is a cab, the frame is balanced by cars and people on the left side of the street opposite the cab far meter, the frame quick pans to create a fast pacing and to reveal taxicab driver. he has a beard and is wearing a turban, a signifier of India from a western viewpoint, also is a frame within a frame because of drivers side window.
From inside the car the camera is mounted on the dashboard of the cab to show the audience the passenger, Bill Murray. The taxi driver is placed in the left third while the passenger is placed in the right third, the cabs frame serves as leading lines creating depth in the frame His business man attire contrasts the taxicab driver's outfit and the setting, showing he is a foreigner in this country, the reckless maneuvering of the cab, honking and engine sounds, and the frantic look on his face tells the audience that the passenger is worried about being somewhere on time.
Low angle tracking shot behind the car creates a tension and intensity by creating a feeling of the car moving faster as the camera moves further away, honking and motorcycle engine noise fading in and out create the illusion of the speed of the taxicab