'Man with the Movie
Camera' is a remarkable film. In fact it is unique. It is unlike anything
that came before or after it in Vertov's oeuvre, Soviet cinema or indeed
the history of film. The film is a documentary made by one of the most
prolific and vociferous defenders of non-fiction (or 'unplayed') film.
Vertov saw documentaries as the ONLY valid form of film. 'Man with the
Movie Camera' is a statement of commitment to the documentary approach. It
is also a 'box of tricks' which serves as an essential example of Soviet
montage and a catalogue of the possibilities of filming
technique.
The film was
constructed by Vertov (real name Denis Kaufman) and his wife and editor
Svilova from material 'captured' by the 'cine-eye' team during the
turbulent years 1924-28. As such it is a document of the Soviet Union,
modernism and Constructivism; indeed of the cinema
itself.
'Man with the Movie
Camera' was released by The Ukrainian Photo and Cinema Administration in
the autumn of 1928. It had its first public showings in Kiev on January
8th and Moscow on April 9th 1929. The film was then quickly shelved in the
Soviet Union whilst going on to critical success after screenings in
Berlin, Paris and London.
It is a most
daunting task to produce music to accompany this most astonishing of
movies. Vertov, who began his artistic career with sound experiments, made
notes on musical accompaniment himself. We can only guess at how
accompanists attempted to keep up with the flood of images when film first
- and limited - showings.
Klive & Nigel,
like Vertov and his cameraman Mikhail Kaufman (the Man with the Movie
Camera) are (real) brothers in arms. They have taken an impressionistic
approach which works brilliantly in setting and furthering the atmosphere
of the film. In particular they have captured the initial and continuing
sense of anticipation which runs through the film. They have captured the
essence of Vertov's attempts to capture time as well as bringing to the
fore the dream-like qualities of the film which can easily be
missed.
The Humberstone
brothers have, rightly, eschewed any attempt at recreation of Vertov's
musical instructions or 1920s constructivist pastiche. Their approach is
entirely in keeping with Vertov's desires to always be at the leading edge
of utilising the technology available.
As part of my work,
and indeed for pleasure, I have watched this film hundreds of times. ITN
made me look at it afresh. Listen with wonder and a sense of discovery -
the way Vertov and his team approached the world.
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