Monday, May 02, 2011


Here's a bit from Jonathan Kellerman's latest, Mystery (better than some, worse than others in the series). It's a description of a scene from a fictitious old movie:
Close-up of a black-haired beauty wearing Hollywood's improbably haute version of cowgirl garb. Rifle in hand. Sneer on glossy lips. Camera shift to manicured finders around trigger. "End of the line, Goldie."

Ponderous music.

Then a long shot offering a full view of the brunette standing in front of a log-sided cabin. Obvious matte painting of mountains in the background.

New shot: rear view of two figures facing the femme with the rifle.

Shift to their POV: fresh-faced blond girl, equally pretty white-Stetsoned young man.
Ummm, what? Their POV isn't looking at them. It's looking at what they see. That's why they call it "Point of View".

What a weird thing to get wrong.

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