CINEMA, 35 mm _ A worthy rewatch, because my recollection of the film (i first saw it 9 years ago on a PC) was only focused on the experimental side of it, in particular the editing and the the effects of over impression. Now that i have seen Ruttmanns "Berlin, die Sinfonie der Grossstadt" and Vigos "À propos de Nice" plus a few others from Vertov i have a different and fresh new eye to appreciate this masterpiece.
cine kino. vertov in the twenties was doing which gave birth to the ideas of the 'observational'. The crafty eXcellence one one side, he is raising questions about what cinema really is. Going beyond 'acting, theater,' and so on, long before those discussions had started. and a relfeXive piece just 30 years into cinema, makes very interesting comments on the form. brilliance, a genius of a film. thank you mr. vertov.
It’s of its time but also timeless. A film that changed the thinking about filming and cinema and which continues to ripple with possibilities when viewed today. One of the finest, most influential pieces of film art ever created. Fascinating that its director of photography Boris Kaufman would later work on films as diverse as Vigo’s L’Atalante and Kazan’s On the Waterfront.
Un film magistral, impressionnant, euphorisant. Un documentaire d'une incroyable force où il est question de vie et de mort, de sensualité, des hommes et des femmes, de la frénésie du rythme de notre vie sur terre, de la société du spectacle, de la manière de faire un film remarquable. Peut être bien LE film.
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!
The one every film school uses as the example on how to edit a film. And while mot of its power lies on its images and editing, it certainly is a precious time capsule and one that would later inspire similar experimental doc’s. Russian rave parties are not the same without it.
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.