Auteur Point about the Conversation over the Table
When Paul and Camille have their talk at the table as the
camera swivels back and forth quickly, it is similar to the breakfast
conversation in Alphaville. The camera plays off the sudden tonal shifts
in the conversation, highlighting how quickly emotions can change. But another
way to read the scene is to say that every conversation has two layers. The
surface layer is expressed visually by the back and forth camera movement and
ritual gesturing. But there is a more telling layer underneath. What happens
then is not that the inner feelings of the discussants are changing, but more
that they are revealed, sometimes suddenly or even in spite of an attempt to keep
them hidden. Godard illustrates this dramatic (and very real) phenomenon by
first lulling you into a false sense of complacency with the back and forth
metronomic over the table. He then suddenly reverses the movement of the
camera, which has both spontaneity and a sense of surprise, which is our surprise, at her
expected, and unexpected, confession. (Of not loving him, or whatever she
said—I forget.) This technique, while hardly subtle, does magnify this
essential multiplicity and volatility of real human interaction. And it plays
with the question of whether Paul and Camille’s relationship is really
changing, or merely being revealed to us, with camera work. Clouzot does
something similar in Diabolique during the exquisite telephone scene, in
which the two women take turns pushing the phone across a table toward one
another, each challenging the other to call the police. The final resolution of that scene also involves setting up a pattern for our
expectations in order to then break it.