Der Mann mit der Kamera

Although I had obviously heard of this before watching it, and had been told enthusiastically by all that it was incredibly interesting, I found it hard to believe that a film with a) no storyline, and b) no dialogue or intertitles could be so exciting. I am now more than willing to eat my hat.

This is quite simply the most amazing thing I have ever seen. Probably best described as a documentary about itself (although by no means only this), this film and it's creator were way before their time.

An interesting point to note: I've watched this twice, once with a traditional musical score, and once with a much more dynamic modern score, and it does have to be said that music can make the movie. I'm not a purist, so found the modern score much more interesting.

One of the most essential movies of all time.

When "Man With a Movie Camera" had just been made, it must have been one of the most distinctive movies of its time, and it is at least as interesting now. In itself, it was a highly successful experiment: the variety of creative camera techniques and the fast-paced progression of images create an effective portrait of the city of Moscow as a typical day goes by. Now, several decades later, it remains distinctive in its style and content, and is even more interesting in that it also allows us a glimpse of daily life in an unfamiliar place and time.

Starting with a look around the city in the morning before things start to happen, it then moves through the day, often coming back to the same site or individual at different times. The incidents shown range from routine daily activities to recreation to emergencies, with everything in between. The sense of realism is such that, despite the rather short clips of specific individuals, you can sometimes feel almost a part of what the persons on-screen are experiencing. At other times, it's just intriguing to have this kind of look at a different era.

The thorough-going experimentation, especially with the unusual camera methods, could easily have led to an unwatchable mess if not done with care. Even experienced film-makers, especially at the present time, too often over-indulge in such techniques to the point where the substance of their films becomes secondary to mere artifice. But here, Dziga Vertov achieved a skillful fit between technique and material, creating a film that has held up very well over the years.

While I thoroughly enjoyed this film (for several reasons previously mentioned), I think it is important to clear up a one thing that has been repeatedly mistaken in these user comments.

This was NOT produced under Lenin's Soviet Regime, but rather shortly after Stalin took over in 1928. The government, then, disapproved of Vertov's film style, not seeing the proletariat message but rather only the formalistic errors that they saw as inherent. After passing directives to forbid formalist methods of production (most likely specifically for Eisenstein and Vertov), Vertov moved to Kiev to produce this film, where I apparently the government was less strict.

Need more proof that the Russian Revolution actually did some good? Just watch Dziga Vertov's amazing experimental film and appreciate the creative energies that October 1917 unleashed. A clear (and superior) forerunner of films like Koyaanisqatsi, The Man With the Movie Camera will tease and provoke your eyes until it's quick cut ending will leave you gasping for more.

The DVD of Man with a Movie Camera has a wonderful modern music score that is based on the director's notes. Experiencing the music along with the visuals makes for one of the best films ever. The idea of a film being made of a film about reality points out that we can only be shown reality but never quite get into it with film. The scenes of everyday life are wonderful...they show a city alive with hope and vigor. The editing is of course excellent and places images, such as trains and people moving and machines functioning, next to each other to create a greater impression on the viewer. Hey, that's montage! Seriously, it is a great experience and one that makes hope live for film. Maybe one day American filmmakers, with all their technology and money, can make something as vibrant and relevant as this.