"Yes?"
Nicety is quickly disposed - by the characters and by the cinema - and Hooper's bold, striking introduction of the "Woman to be questioned" endows her with a standing dignity.
Hooper's striking introduction positions the woman-to-be-utilized as a real human being, one to be dealt with and to be answered to, who can initiate the dialogue off the screen, not needing the cue of the camera's gaze, catching off guard the attention of the government men and asserting her "civilian reality" in the face of our main protagonist ciphers.
This striking introduction thoroughly places her eventual bout with the men as one of equal standing, quite in line with that scene's transcendent, not regressive, practically noumenal presentation. Not to be objectified from the get-go, beginning the scene any other way would place her as a paradigmatic "Mystery Woman." Hooper's striking decision of how to introduce this character, one who announces herself, who demands a rack focus with her inquiry, who is first perceived by the movie-heroes from a distance as an unlit reality,
presents her as one of us, a regular being, a full-body humanity, and we,
us innervated masses, are to be dealt with and answered to and reckoned with by the enervated professional
few.
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