3B English The Imposter Notes

Selection of Detail

Silenced presence of director: apparently remote from issues; never interjects with questions and never seen on camera. Distant from action (?). Seems to favour Frederic. Fly on the wall?

Settings: Spain, airports, suburban and occasionally urban America (diner, streets, school, hospital), including “home” in San Antonio; school bus trip as a montage; recurring scene of child-like huddled figure inside a telephone box in Spain (it is raining). Dramatic reconstructions. Most significant is the studio setting with the dark anonymous background framing Frederic’s interview direct to camera.

Media file footage covering reports of missing children and Frederic Bourdin shown as a criminal. Voices – the film focused on Frederic and Carey. Their relationship/ lifestyles/ family dynamic as

intriguing and fraught. Other perspectives are offered by Nancy (FBI agent) and Charlie Parker. Beverley is straight-faced, unemotional.

Frederic and Carey’s lifestyle and family were briefly contrasted with the narrative afforded by Charlie Parker who conducts an investigation (suspicious of family’s motives and contradictory evidence).

Shots and sequences:o Rain in Spain reinforces the “lost child” narrative – evokes our sympathy.o Intertwining account of identity theft from Frederic’s point of view (he appears honest, reliable and

frank) juxtaposed with Carey’s account of her recovery of “Nicholas” from Spain. Who to believe?o As “truth” is stretched, the legal suspicions mount, and tensions rise in the subjects – use of

profanity, moody music, Frederic cuts himself with a razor - they cannot maintain the lie.o Frederic in situations that make him seem manipulative, yet vulnerable – abandoned by his family,

Interpol records showcase extent of his fraud, smiling openness of his address to the camera. Charismatic figure who serves time for this bold and bizarre crime.

Film Language

Voiceovers used as a convention for conveying subjects’ opinions/ concerns and criticisms (often incriminating commentary where main subjects are seen to be in conflict).

Subtitles used as an epilogue/ events after the film’s close (ominous ending. Coda). Use of close ups, often to heighten a sense of distress eg cut to black after verbal outbursts, interviewees

looking into the lens while silent, as if reflecting or emphasising honesty of their words and former deeds.

Subjects often presented in a particular context eg Carey’s lounge room with soft lighting. Subjects seem comfortable/ relaxed, and this reassures viewers.

Camera angles convey immediacy; subjects are often talking directly to us (audience oblivious to director’s off screen presence).

Contribution of all the above to point of view (subjects seem to present their view of contemporary life in America – moral, ethical dilemma of responsibility and familial love depicted).

Structure ~ murder mystery/ identity theft/ open-ended crime tale

Juxtaposition of subjects’ comments eg Frederic vs Carey/ Beverley; Nancy & Charlie vs Frederic. 3 year time period with a coda to reflect back on “real life”/ mysterious events. Montage sequences depicting family gatherings & conflict eg driving, airports, police report by Jason on

Nicholas, interviews with neighbor and family friend. Archive footage as illustration of values (smiling, happy family gatherings – the American dream). Significance of opening and closing images; irony of juxtaposition between finding the “lost” child and

digging in the garden in search of Nicholas’ missing body (lack of evidence). The montage comes close to a traditional story structure: the climax is towards the end and presents

viewers with a shocking revelation – flashback to Frederic dancing in jail. There is no happy ending….