Julie Christie flashes the camera in BILLY LIAR.
I am reading and enjoying Geoff Dyer’s Zona — it really is as good as everyone says. The kind of book I’d like to write, if I could settle on a film and if anyone would agree with me on which film was worth settling on.
Dyer has plumped for Tarkovsky’s STALKER, and his discursive approach echoes the antics of a lively mind watching a slow film — sometimes totally concentrated on the sounds and images in front of him, sometimes darting off into memory or fantasy, inspired by the movie but running on a parallel track. Here’s Dyer on a moment when Tark’s characters seem to meet the camera’s gaze ~
This is in direct contravention of Roland Barthe’s edict in his essay ‘Right in the Eyes’, that, while it is permissible for the subject to star into the lens–at the spectator–in a still photograph, ‘it is forbidden for an actor to look at the camera’ in a movie. So convinced was Barthes of his own rule that he as ‘not far from considering this ban as the cinema’s distinctive feature…. If a single gaze from the screen came to rest on me, the whole film would be lost.’
Either the quotation is doing Barthes no favours, or Barthes is a silly man who hasn’t seen enough movies. “Don’t look at the camera!” cries Francis Ford Coppola in APOCALYPSE NOW, playing a documentary director, ignoring the fact that in documentaries (which are, arguably, movies), characters looking at the camera actually ENHANCES the realism. It’s when they’re too good at pretending it isn’t there that the fly-on-the-wall approach starts to seem artificial, staged.
Nevertheless, in fiction films it’s true that there’s a convention — which only means that those, quite frequent moments when the rule is broken always seem mildly unconventional. In a mainstream film, the effect is noted, and the ticket-buyer says, “OK, this is a little unusual, but as long as the filmmaker doesn’t get too crazy, I’m going to allow it.”
My favourite video store story: two young men looking at prospective rentals. One picks up the Christian Slater vehicle KUFFS. The other says he’s seen it. “Any good.” “Aye, awright.” “Much action in it?” A micro-pause. “Ah… he talks to the camera.” Said as if this were, arguably, a form of action.
In BILLY LIAR, Julie’s lapse is momentary and obviously unintentional, but in good movies even flaws are good. This scene is already breaking from Billy’s POV, which makes it a violation of the movie’s own rules. If Julie is exceptional enough to merit a scene of her own, away from the prying eyes of the POV character, and devoid of any fundamental narrative purpose (well, it’s introducing Julie, swinging her handbag, and that’s ENOUGH), then surely she’s allowed to sneak a peek at camera operator Jack Atchelor. She’s Julie Christie, she has special privileges.
Inaugurating a little season considering some looks to camera, and what they might mean.