Why do we
watch reality entertainment? What is it about shows like 'Survivor', 'Temptation
Island', and especially 'Big Brother', which makes them so appealing to
the viewing public? Is it the greed and paranoia? The voyeurism and exhibitionism?
The masks and role-play? The control and manipulation? The disruption
of group dynamics? The conjunction of sincerity and performance? The possibility
of audience participation and intervention? These certainly are the essential
ingredients of reality entertainment, but they are also the lifeblood
of horror, so little wonder then that reality entertainment should offer
perfect material for horror films to explore, dramatise and exploit. We
have already had 'Series 7: the Contenders' (very good) and 'Battle Royale'
(good), and we shall soon have 'Halloween: Resurrection' (very, VERY bad),
but Marc Evans' 'My Little Eye' is destined to do - and do definitively
- for reality entertainment what 'The Blair Witch Project' did for documentaries.
The set-up
for 'My Little Eye' is simple: five contestants in a reality webcast will
win $1 million if they stay for six months in an isolated house filled
with cameras and microphones - but if anyone leaves, everyone loses. After
an introductory cut-up of the contestants' audition videos, and a rapid
montage (with four-way split-screen and frenetically increasing tempo)
of the day-to-day goings-on in the house, the film concentrates upon the
contestants' final week together. So near to the end of the show, all
five have been pushed to the edge by petty rivalries, sexual tension,
sheer boredom, and an arbitrary reduction in their fuel and food supplies
- all of which is accurately imitated from reality TV - but as confronting
messages appear on the window, menacing objects appear in the house, and
things generally go bump in the night, the contestants become increasingly
convinced that someone - or something - malevolent is watching and toying
with them.
The film's
players are all relatively unknown (unless you're a connoisseur of extras
from American television), and effectively naturalistic, so that you can
easily forget - as you can with 'genuine' reality entertainment - that
they are just acting. Of course, as with all great haunted-house films,
the real star is the house itself. Snowbound (cf. 'The Shining'), imposing,
absurdly decorated with mounted hunting trophies - the house oozes creepiness
and claustrophobia. Every tiny sound, both inside and outside, is miked
up close, conveying perfectly the hypersensitivity that comes with the
contestants' cabin fever and paranoia. In this film, the sound of a pen
scratching on paper, or of an electrified fence humming, is excruciatingly
intense, while the sound of a light being switched on will make you jump
from your seat. And of course, there's the ever-present whine of the house's
electronic cameras, panning and focusing, trying to capture their prey.
'My Little
Eye' has no conventional camera crew: every single image is mediated through
one of the many digital cameras (or little eyes) placed strategically
in and around the house, thus casting the filmgoer in the role of reality
voyeur - a role which becomes more and more uncomfortable as events unfold.
The cameras may be aimed on the contestants, but it is we, the viewers,
who are this film's real focus, as we are repeatedly confronted with the
question: why do we watch? and what is the precise nature of that peculiar
pleasure which only reality entertainment - and of course horror - can
satisfy?
Chilling, scary, and thoroughly recommended.
Anton
Bitel, 15.10.02
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