In his recent Film (Quarterly article, “Tense, Mood, and Voice in Film: Notes after Genette, ” Brian Henderson initiated a stimulating attempt to rethink film narration in terms suggested by his reading of Gerard Genette's Narrative Discourse. While I agree with him that the problem of narration—of who says what and how it gets said—is fundamental, and a useful site for interrelating our understandings of literature and film, I remain disturbed by his discussion of point of view and voice-over narration—particularly with his implication that they and subjective camera account for most of what could be called first-person cinematic narration—and with some of his remarks about what can and cannot happen in literature and film. What I should like to do here is to take issue with a few specific points raised in that article, and then go on to present an expansion of my argument in Mindscreen1 concerning film voices.