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164 PROBLEMS OF STYLE IN THE FILM
Mme Curie; the Russian Lenin and Gorky films also belong to this category. Here, although the decisive events are not invented, the individual scenes are of course directed or at best reconstructed. Nevertheless the authentic data of the actual life-story set a limit to literary inventions.
UNKNOWN PROXIMITY
The search for the literature-free 'pure film style' led directors not only to travel with their camera into unknown distances, but also to penetrate into a yet undiscovered and unknown nearness. The first such traveller who went on a voyage of discovery into proximity was the Russian Dziga Vertov. He called it Cine-Eye and his idea was to peep with his camera at the little events of our workaday lives which we incessantly see and never notice. These molecules of life become significant if we isolate them in close-up and having isolated them, draw their outlines and by doing so give them form.
These little events are genuinely captured not constructed reality — they are as though they had been photographed through a keyhole. A child playing — a couple of lovers kissing— a cabby grumbling — an old man having forty winks on a park seat. They never knew that they were being 'shot'. The interest of these pictures lies in their authenticity. And very often they radiate a certain latent excitement through the knowledge that we are treading on forbidden ground, that we are peeping at something we were not meant to see. Such fragments of reality can then be collated into whatever 'truth' the director chooses to demonstrate by their means, Here the scissors play the poet in good earnest and say: 'Behold! This is life ! '
These entirely authentic shots of actual reality are the most subjective of all. They have no story but they do have a central figure, a hero. This hero is invisible because he is the one who sees it all out of his 'cine-eye.' But everything he sees expresses his own personality, however unconstructed the reality in his shots may appear. It is he who is characterized and reflected in the shots which he took in preference to some other fragments of reality. Only his own subjective feeling