Manhatta

This groundbreaking silent documentary captures the beauty and majesty of the New York City in its streets, skyscrapers, bridges, rail yards and harbors.

Is this film groundbreaking? I would have to agree with that. But unfortunately, it doesn't break nearly as much ground as it could. The film reminds me of "Berlin", the documentary made by Karl Freund and Carl Mayer, among others. The big difference being that "Manhatta" is not particularly long.

And that is why I can only give it so much love, because I wish more of 1920s New York was captured on film, an era that is still remembered fondly today (2017). Any document would be somewhat priceless to the right people.

One of the earliest "city symphonies", and arguably one of the most groundbreaking avant garde films of the 1920's, 'Manhatta' is a lyrical, slow, and moving tribute to a great American city based loosely off of a Walt Whitman poem. The imagery isn't as intense and vibrant as that in many other films of a similar nature, whether they be other city symphonies or just other avant garde/experimental films in general, but there are several shots in here that definitely widened my eyes. The very specific positioning of the camera for certain angles helped give much of the short film a very epic feel. At some points, it even felt extremely futuristic and, to me, evoked some shots from Fritz Lang's legendary classic 'Metropolis'. It's only about twelve minutes, so any fan of experimental film might as well check it out as it is highly revolutionary and visually pleasing.

Preface: Due to the nature of such a short film, any valid review will contain some evidence of a "spoiler." This review is no exception.

Paul Strand's "Manhatta" is more than just the simple, pioneering piece in early cinema. "Manhatta" is a representation of New York City through the eyes of a still photographer. Strand uses the format of motion picture to create a sense of life. Similar to his New York still photography, each moving image frames city life, angles, and other objects with semi-avant-garde detail. Strand's own "mentor," Alfred Stieglitz, greatly appreciated the new form of city photography, publishing it in "Camera Work" and in his gallery 291.

In the movie, the blowing smoke, walking people, moving ships, and other objects in motion are what separate the motion picture from a photo album. Instead of portraying New York as an iconic, prosperous city, Strand has been able to portray New York City as an organism that contains a immigrant working class.

In my opinion, "Manhatta" commands the respect of many early motion pictures, influencing many great, more popular films.

MANHATTA is an unusual short film. It's like the merging of a travelogue with a poem. So, as the camera moves artistically about the city of New York, the scenes are punctuated with intertitle cards that have poetic verse on them that make it all seem grand and majestic.

While much of this won't appeal to most viewers, the film is still worth seeing for two important reasons. First, the short is a wonderful historical record of the city. In other films of the era, New York is incidental, in a way. You might see bits and pieces of the city, but the city is not the star. Here, however, you see so much of the town that you wouldn't see otherwise--and much of it is gone today. Second, the film is very artistic in its cinematography--with wonderful aerial shots as well as nicely frames shots of the Brooklyn Bridge and the like.

Perhaps not exciting, but a rather important document. And, despite the original negatives being missing and only one print in existence until it was restored, the print looks great!

This short film by Sheeler and Strand is the father of American avant-garde cinema.

It contains beautiful shots of Manhattan shown intertwined with excerpts of a Walt Whitman poem. All of the shots are thought out, and very photographic in nature. But that is expected with Paul Strand behind the camera.

This film is probably the first American avant-garde film, and if it isn't, it is definitely the first influential avant-garde film. A guideline for future American avant-garde filmmakers to follow.

A true visual treat, even for today's standard.