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WRITING THE SCREEN PLAY 24Q
should include a vast assortment of such props. With them, he can include a multitude of "business" bits— without them, he can be pictorially bankrupt.
The subjective camera
Under ordinary conditions, the camera lens furnishes a number of viewpoints to the audience, first of one character and then of another.
Lost Weekend concentrated, in the main, on the viewpoint of the protagonist, as played by Ray Milland. In Lady in the Lake, Robert Montgomery concentrated exclusively on the viewpoint of Philip Marlowe, the tough Raymond Chandler detective character he played in the picture. His idea was to use the camera as the eye of his character, so as to keep the audience's attention consistently on the character he was playing.
In Montgomery's picture, a number of trick devices were resorted to in order to further this illusion. He was seen only twice in the film. At other times his presence was suggested by means of shadows, by reflections in mirrors, by shots of hands and feet, by cigarette smoke in front of his face, by having the camera dip when he sat into a chair, and by having a glass of whisky pushed head on into the camera.
The result was a picture that was not too brilliant as far as qual ity was concerned, for reasons which will be gone into shortly. It created a mild stir, only because of the technique which made the picture a vehicle for a tour-de-force.
This same technique was used in the opening sequence of Mamoulian's Dr. Jekyll and Mr. Hyde, where the camera was supposed to be the eyes of Dr. Jekyll. In Pichel's The Great Commandment, the camera became the eyes of Dr. Muncheson, as he watched Ingrid Bergman crossing the room to the door.
The pioneer of the subjective camera was Abel Gance, in his Napoleon, made about 1926. In it, he strapped a camera to a singer's chest to record the reactions of the theater audience to the singer's rendition of the La Marseillaise. In the same picture, he attached a camera to the tail of a runaway horse. He even had it take part in a