Bittersweet watching this willfully kinetic film knowing the dreary miseries that lay ahead. It strikes with the force of a revelation that you are not granted full access to, but that's history's fault, not Vertov's. I love all the wild weird bits (the working hands montage with the subliminal shot of the gun; the sexualised sports sequence; all the daft but visionary superimposition tricks). Stirring and oddly fun!
Technically Stunning and probably more than a century early, it is a bit like a frantic version of Giallo's visitors. It does advertise that it does not have a script or explanations at the start, I would have liked a heavy layer of symbolism on top for full marks. The best rushes do not make a film by themselves. Interesting to see after L'enfer d'Henri-George Clouzot.
An amazing avant-garde documentary following a man and his movie camera. We, the viewer, see the cities he visits with his eyes. Or his camera's eye. Or his camera's eye perceived through the man's eyes. This eye shows us the city, its architecture, its people, its streets and its machinery. The film uses a lot of editing techniques used today like slow motion, stop motion and fast cuts. An essential experience.
So many arresting shots and sequences. So many great contrasts and comparisons between the clean and the dirty, birth and death, film-editing and spinning thread, etc. And through it all, Vertov keeps his audience aware of the camera, as he sprinkles omniscient overlays throughout the film.
Our Daily Free Stream: Vertov - Man With A Movie Camera. Leicht vorstellbar, wie sehr das Publikum im Jahr 1929, dem Jahr als Vertovs Man With A Movie Camera ins Kino kam, überfordert gewesen sein muss. Während der Stummfilm-Ära war das Publikum gewohnt, dass Einstellungen zehn Sekunden oder länger andauerten. Hier waren es zwei Sekunden - eine Geschwindigkeit, die uns moderne Blockbuster zumuten(...)