Taris, roi de l'eau

A commissioned work, this wasn't only disliked by the producers who hired him, as a result possibly edited without his consent to its final form (Michael Temple on the Criterion commentary track suggests that perhaps Jean Renoir was one of the directors called in), this was reportedly disavowed by Vigo himself, who apparently said that he only liked the underwater footage.

In many respects this is an experiment on various cinematic techniques: Vigo had already utilized and mastered the use of slow-motion in "À propos de Nice" (1930); here he uses transposed images and reversed footage in addition to some exquisite slow-motion of Taris swimming in the water. (Temple points out that the underwater shot of Taris goofing around is a laboratory of sorts for "L'Atalante" (1934), which would use an almost similar underwater shot)

But this is transcendental in the sense Vigo sees both water and the human body, like a sculpture come to life. Water, one of the most cinematic things in the whole world, is a character of its own here. It's the kingdom whose king Taris is, as implied in the title. In that sense this is also a fête of the human body and its power over the element.

And, most important, it's fun.

Vigo's short Taris is a work of breathtaking beauty. He uses the swimmer's body and movements to portray grace and passion, transcending the pretense that this short is a documentary on a famous swimmer of the 20s/30s. His use of close ups and freeze frames along with underwater beautifully lit scene add to its richness. The Film ends with a deep perhaps ironic twist which is priceless.If you have enjoyed Vigo's features do try and see this mini masterpiece

A commissioned short meant to show off renowned swimmer Jean Taris and demonstrate his technique, but it's more of interest in demonstrating Vigo's technique. The photography is absolutely gorgeous, especially the underwater parts. As a celebration of physicality, it looks forward to Riefenstahl's OLYMPIA, showcasing the various graceful feats the human body is capable of, using sensuous close-ups and slow motion. It's undeniably a minor work thematically (not to mention narratively) but it is a lovely bit of craftsmanship, punctuated with some nice bits of humor, including an ending that will look awfully familiar to fans of BEING THERE.

Jean Vigo is a great example of a young filmmaker who died very young and is adored today by cinema freaks. While the body of his work is minuscule (only four films), in some circles he's considered a genius--even though only one of his films ("L'Atalante") was full-length. And, two of his other three shorts are more experimental films than anything else. I frankly don't quite get his reputation, but for fans of this writer/director, Criterion has released a DVD with all four of his films.

"Taris" is an odd little film about the French swimming champion, Jean Taris. In some ways this is an art film--with very unusual camera angles and composition. And, in other ways, it's a rather dull 'how to' film--one that shows the viewers how to swim like Taris--as he demonstrates various strokes, breathing, turns and the like. It's not at all a film the average person would enjoy or even look for in the first place. However, as I said above, film buffs who adore Vigo would be happy to see this--even if it is not the most exciting film I've ever seen (far from it, actually). Competently made, rather dull but full of exciting camera work.

Jean Vigo films the talents of great swimming champion Jean Taris performing different acts. Vigo film technique allied with Taris swimming style are intertwined with grace and effect.

Some of this might have been a bit risqué, at least it would have been to Americans, but it is an interesting use of underwater photography and captures its subject well. I don't know Jean Taris, but then again, I wasn't around in 1930s France. I imagine he was a big deal and something a hero. Certainly, in this capacity, his body and movements are an art form.

Of the few things Vigo did, this might be the one that stands out. It doesn't offer class commentary or suggest anarchism. It's not the masterpiece of his short career. It is just a simple -- but effective -- look at a great athlete.