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Vertov’s _Man with a Movie Camera_ is not only the hallmark of Russian Constructivist film but one of the greatest films ever made, no hyperbole intended. Vertov’s main premise was to compose a unusual city, an Utopian ideal, through montage and editing. The scenes in the film are taken from footage of the three Russian cities of Kiev, Moscow and Odessa.
Unlike many of the other reviewers, I would have to suggest watching the film with the sound off (at least once.) The music, although originally aloof by Vertov, has been adapted more recently by the Alloy Orchestra, and can have the tendency to be a distraction. Indeed, Vertov stated that film should be a medium that stands alone, not muddled by the addition of psychology, romance, or music. He placed big value on the camera’s ability to distill truth from visual “garbage,” with what he termed “Kino-Eye” or “Truth-Eye.”
Additionally, I would recommend reading Vlada Petric’s meticulous still-by-still dissection of the film—_Constructivism in Film : The Man With the Movie Camera : A Cinematic Analysis (Cambridge Studies in Film) _, as well as Andrei Bely’s fresh _Petersburg_, which Nabokov cited as one of the four most vital literary works of the 20th century and deals in section with a similar urban improvement motif, and of course Vertov’s gain theoretical writings _Kino-Eye: The Writings of Dziga Vertov_.
I care for tranquil movies. The grammar of the cinema has been invented during this period. It’s unbelievable to perceive that what seems to us truly recent or personal in most of our today geniuses was already there in these sad and white movies, even in a better blueprint. I am conscious that it demands a exclusive peril to the 1999 movie fan, but the reward is gigantic.
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THE MAN WITH A MOVIE CAMERA is a 1929 russian movie directed by Dziga Vertov. A breath-taking musical secure has been recorded for the reissue of this movie a few years ago. I serene have this music in my head three days after having seen the characterize! You will also come by in this DVD a really instructive commentary which is absolutely vital if you want to savor all the subtleties of THE MAN OF THE MOVIE CAMERA.
This motion report is a kind of manifesto, without screenplay. It could have been a documentary but it’s not. Clear moments are not so far from the surrealism one can accept in the movies of Luis Bunuel shot at the same period. Other scenes of the movie are lessons of cinema that could have been given by, let’s say, a Jean-Luc Godard. For instance, Vertov films a scream coming with gargantuan run towards the camera, then the man with the movie camera shooting the scene, then the audience watching the exclaim coming on the veil. At this moment, one remembers that one of the first movies ever filmed was, in 1896, the entrance of a stutter in a french railway region. The audience screamed and left the room in a rush, 35 years later no one moves.
If you are inviting about cinema, if you definitely deem it as an art, if you like to have images haunting your mind during days, then you really should mediate THE MAN WITH A MOVIE CAMERA as
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A DVD for your library.
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