The most striking element of this film is the way in which the camera maintains such a fluid and sensitive movement, creating a sense of frustrated distance between the action within the film and those viewing it. The opening sequence introduces us to this technique, as we follow the search of the Countess through her dressing table, and gradually are shown the reflection of her face in the mirror. Throughout the film there are numerous long, fluid shots, often following a character physically through a series of situations and sets. The camera acts as a totally impartial observer, moving amongst the set and often being placed so as to appear to hinder a clear view of the action. However, the complicated and intricate relationship between the position of the camera and that of the character it follows is a vital stylistic element. We are distanced from the action, and yet also have an intimate relationship with it; the fact that the camera often has to retrace its steps in order to follow the character presents a spontaneous, realistic image.
More importantly perhaps is the continuity that this camera technique gives the film. The film charts the flow of a series of events that are all caused ultimately by one single event. Visually, the flow of images is indicative of the inevitability of the series of events, and aurally the fact that much of the music that we hear in the film is in fact from within the action, such as the dance and the theater, suggest again continuity and unity, as well as immediacy.
More importantly perhaps is the continuity that this camera technique gives the film. The film charts the flow of a series of events that are all caused ultimately by one single event. Visually, the flow of images is indicative of the inevitability of the series of events, and aurally the fact that much of the music that we hear in the film is in fact from within the action, such as the dance and the theater, suggest again continuity and unity, as well as immediacy.