ABSTRACT
Peter Weir's objective narrator is every bit as effective in telling the story. The strong articulation of narrative beats through staging and camera and the artful modulation of the objective narrator's voice— at times speaking quietly and softly, other times rapidly and with greater volume— maximizes the audience's emotional involvement. In this story, "five thousand cameras" are watching Truman. Weir cleverly relies on this ambiguousness, this "fuzziness" as to which image belongs to the antagonist and which to the objective narrator, to increase the antagonist's arsenal by having the objective narrator, at times, serve as the antagonist's voice. There is nothing special; however the every significant character is introduced within the frame, unless they are characters who go through the film in tandem with another. Truman's world is fake; the images seen in that world are real. Audience will be watching for the clarity of all the plot points in what is a complicated story with many characters.
