What was striking to me about Amour was how much it looks like other Haneke films — with
the same macguffins, the same uneasy tracking shots — and yet how different it feels.
Not exact matches
Her newly appointed henchman Skurge (Karl Urban) is equally flat, while the flaming
MacGuffin we meet at the start of the film is just
same - old CGI nonsense.
There's the diminishing returns of seeing the exact
same procedure of some new mythical
MacGuffin that suddenly every pirate on the seas is determined to get.
The
MacGuffin of Night Moves is the
same as the microfilm - bearing South American juju from North by Northwest or the bird statue beneath the opening titles of The Maltese Falcon — some kind of clay effigy pregnant with some kind of contraband, representative in 1975 of the extent to which film has been entirely co-opted by the way audience expectations govern movies.
At the
same time that the viewer is often put in the position of a kind of detective, oftentimes narrative itself ultimately becomes a kind of
MacGuffin, important not so much for itself but for the formal and conceptual moves it makes possible.