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Kino Classics/BFI

Man With a Movie Camera [Blu-ray]

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Format: Blu-ray February 16, 2021


Description

One of the most innovative and influential films of the silent era, Dziga Vertov’s Man With A Movie Camera utilizes rapid editing and innumerable other cinematic effects to create a work of amazing modernity and power. This dawn- to-dusk view of urban Soviet life shows people at work, at play, and at the machines that endlessly whirl to keep the metropolis alive. It was Vertov’s first full-length film, and it employs all the cinematic techniques at the director’s disposal—dissolves, split-screens, slow-motion, and freeze- frames—to produce a work that is as exhilarating as it is intellectually brilliant. Restored by the British Film Institute, this edition features an orchestral score composed and conducted by Michael Nyman (The Piano), first performed on May 17, 2002 at London’s Royal Festival Hall.Special Features:-Audio commentary by film historian Adrian Martin-The Life and Times of Dziga Vertov: An Interview with Ian Christie (46 Min.)-Dziga Vertov: Non- Fiction Film Thing, a video essay by David Cairns (20 Min.)

Genre: Special Interests, Classics/Silent Films


Format: NTSC, Anamorphic


Contributor: Mikhail Kaufman, Dziga Vertov


Language: Russian


Runtime: 1 hour and 7 minutes


MPAA rating ‏ : ‎ NR (Not Rated)


Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 1.76 ounces


Director ‏ : ‎ Dziga Vertov


Media Format ‏ : ‎ NTSC, Anamorphic


Run time ‏ : ‎ 1 hour and 7 minutes


Release date ‏ : ‎ February 16, 2021


Actors ‏ : ‎ Mikhail Kaufman


Studio ‏ : ‎ Kino Lorber


Country of Origin ‏ : ‎ USA


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Top Amazon Reviews

    • Not just a portrait of a city -- a reflection on cinema
This film has been aptly compared to Berlin: Symphony of a City, but what has interested me most about it is its portrayal of cinema as a universally accessible art form. While there are propagandistic moments -- celebrating the efficiency and lifestyle of the Soviet working class -- it easily transcends whatever purpose the authorities (or Vertov himself) may have had in allowing Vertov to film it. You have to remember that this film was composed for an audience that may have seen films but were certainly not film literate -- not many of us are now -- which is to say they had not likely been aware of the process of making films, or reflected much on the nature of film. What is so exciting about this film is that it presents both a portrait of a city, and of the life of its inhabitants, as well as a documentary (and self-reflexive) study of the art of filmmaking. There is much to learn from this film about the different ways of thinking about film, and I often show it in my film classes for this purpose. There is the idea of film as a recorder of objective fact, that is potentially present anywhere though always located somewhere, suggested by the images of the filmmaker as a kind of eye towering over the city, seeing both the whole and the parts. There is also the idea of film as highly subjective, suggested in images that show the personal reaction of the filmmaker, and in images that show the personal dangers faced by the "man with a movie camera" in his effort to capture difficult shots. We see, in these shots, that film is not simply a passive recorder of events that unfold independently of the filmmaker but is also involved in the creation of these events. We see the editor, editing the very footage that we had just seen the filmmaker recording. We see that the filmmaker can be a kind of poet, making use of visual metaphors to suggest ideas: a train relay that suggests the intercutting of various scenes by the editor, a window and an eye that suggest the camera. We also see the capacity of the filmmaker to manipulate and create a new reality, when we observe animation (of the camera itself, seemingly taking on a life of its own without the cameraman), but we also see how this animation is achieved. We are even shown the audience itself, and by implication are included in the very picture we are watching. Some of these metaphors and ideas may seem heavy handed today, but that is only in my description of them. When you actually watch them they fascinate. The editing also is superb in this film -- always appropriate to the scene it is sometimes slow, and sometimes more rapid and kinetic than anything MTV produces. All in all, I consider this an essential piece of cinema, well worth purchasing on DVD while it is still available. I hope it remains in print forever, but have a hard time believing it will, which is why I just recently purchased a personal copy -- when it was already owned by my campus library. (The picture on the DVD is quite fine, better than the VHS copy I have seen; the music that was re-created from notes left behind by Vertov is superb and fits the film quite nicely.) ... show more
Reviewed in the United States on December 28, 2004 by Nate
    • Unique and unforgettable cinematic experience!
Even if Soviet Russian Avant Garde is your least favourite genre, chances are that "Man With the Movie Camera" will still leave a deep and permanent impression on your mind and compel you to watch it more than once. Unlike other famous Russian films of the late silent era such as Eisenstein's "The Battleship Potemkin" and Pudovkin's "The Fall of St Petersburg", the director of this film, Dziga Vertov, took an even more revolutionary step away from mainstream commercial cinema, and even fiercely resisted the narrative film, meaning the staged, theatrical, planned movie with a story and actors. This outlook on art and cinema led to Vertov developing the concepts of capturing "life unawares" and "life as it is" with the movie camera to create a unique experience in film documentary which is at the same time an impressive work of art. While the word `art' usually conjures up images of beauty, style, grace and elegance, the viewer's first impression of "Man With the Movie Camera" is anything but beautiful, as images of city streets and people waking to a new day and getting ready for work bombard our visual senses. But before long it is obvious that there is a distinct rhythm, and what seem like random images taken from moments out of everyday life are put together - like a musical composition - to create a perfectly choreographed work of great artistic skill. Even if the viewer has no interest in the artistic aspects, the bombardment of images using the whole wide range of editing and camera techniques known at the time becomes quite mesmerizing and fascinating. Images of streets in Russian cities like Moscow, Kiev and Odessa show transportation from trains, trams, horse carriages, ambulance and fire engines, then people going to work in coal mines, fields and in the city, using modern technology of the time such as the telephone, switchboard and typewriter; people going to a wedding, a funeral, having a baby, being pampered in a beauty salon, then enjoying recreation after work such as going to the beach, dancing and playing sports and games. Every aspect of life is touched on, and it never becomes boring because the tempo changes frequently, or we see the cameraman himself, who was Vertov's brother, seeking the best position to film, then there are close-ups, unusual angles, frozen frames, montages and other effects to keep the viewer under a spell. This Image DVD has a musical score by the Alloy Orchestra, based on instructions by Vertov himself because in a visual work of art like this, the music should underscore and complement the images as best as possible. The Alloy Orchestra has achieved this goal brilliantly, and there is also an optional audio commentary to provide more insight into Vertov's ideas, as well as various background information which help the viewer appreciate the film on a deeper level. Vertov resisted the notion of telling a story like all his contemporaries, but he ended up telling a much more profound and important story than all other filmmakers, namely the story of life, told in the universal language of pictures, of cinema, which requires no words and no speech. This is perhaps what makes this film special and unique, and transcends any label one might like to give it, whether Soviet Avant Garde, Silent or documentary. An experience not easily forgotten, and well worth adding to a serious film collection! ... show more
Reviewed in the United States on May 22, 2009 by Barbara Underwood
    • The grandfather of MTV
If nothing, this DVD is a proof that every modern editing technique is based on Soviet revolutionary silents, done almost 90 years ago. Dziga Vertov - aka Deniz Kaufman - invented the whole new narrative form based on impulsive editing,rapid-fire cross-cutting, juhstapositioning simple shots to create methaphores and litotes and inject conotations into everyday`s images. Like many of the Soviet movies of the day, this film had an objective to prove that `revolutionary` cinema does not need clasic conventions, and maybe because of that it has fresh, independent, experimental breath and a lot of guts. Vertov, at the age of 19, was promoted to became the chief editor for Soviet agit-prop movies, position which he also used to experiment with form. Dealing mostly with documentary footage, he managed to make it "alive", "exciting" and "agressive", spending months and months in his cutting room full of rats and dripping water. The results are two master-peaces which he made in 1920.tees: "Kino -Eye" and "The Man With the Movie Camera" - both milestones in the movie history. So,if you like melodramas and romantic comedies this is not your ticket. But, if you want to see the grandfather of Jean-Luc Godard, Lars von Trier and MTV cutting style, you should check it out. ... show more
Reviewed in the United States on March 24, 2009 by Preseva Mustafa

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