Even today, this film can still be regarded as a relatively experimental work, and it actually appeared in the Soviet Union nearly 80 years ago, only 34 years after the birth of the film, when the film was still in the silent film era .
The whole film has no plot, but quietly records the city scene of Moscow, all kinds of pedestrians on the street, shops, factories, trams, trains...
If this has always been the case, and the camera is just observing like eyes, then this film is directly called "Camera" is not impossible, but since the title of the film is "The Man with the Camera", the role of this "person" will naturally be reflected in the film.
Therefore, whenever we look at various scenes in Moscow city with the camera, gradually enter and gradually relax, and almost think that there is no camera or the existence of the person behind the camera, the camera lens will appear in the film, One moment he was carrying the camera to find the right angle, and the other moment he was squatting behind the miners to photograph the miners' labor, which reminded us that what we saw was not a natural scene, but what the man behind the camera thought. Let us see what, when we look at the magnificent spire of the church, if the photographer turns the camera in a different direction, we will see the small grass hut inhabited by the poor inhabitants; and if the photographer does not want us to see the grass hut If so, we can only admire the splendor of this church - everything depends on the person holding the camera, and at this moment, we are all his subjects, and we all obey his wishes.
The most interesting is this set of shots: an open-top car is running on the street, and there are a few rich ladies dressed in fashion. This kind of shot is nothing special, but at this time, the lens is switched, and we see the photography The division is sitting in another open-top car parallel to the open-top car, filming the every move of the rich ladies. This makes one wonder, isn't the lens we're "in" in now, the eyes of another photographer in another car traveling with the two cars?
Throughout the movie, it seems that the director is playing the same game as us - first let you relax your vigilance, enter the environment and mood he set for you, and then suddenly hit you with a set of shots, telling you: "All this is It's just what I arranged for you. You can't choose freely. I make you cry and you cry. I make you laugh. You laugh. You never want to see..." The
film's montage shots are very well used, for example, there are a group of shots in it, which are weddings, funerals, the birth of a baby, the death of an old man, etc. I thought of the impermanent world of life with a sentimental side. Words such as vastness, while knowing in our hearts, are caught in the director's trick. We are already too familiar with the language of the film, and we will have a fixed emotion corresponding to the fixed scene, and we will not be aware of it.
There is also a set of shots, a girl is shooting, the shot is quickly switching between her muzzle and the target, the speed is getting faster and faster, which means that the bullet is about to be shot, but the bullet is not shot after switching many times, which makes people feel It was extremely oppressive, and it was difficult to breathe. Fortunately, the bullet was fired in the end. While relieved, I felt the director's tricks again in my heart. :)
When we get the camera, we have the right to speak, and we can manipulate the audience at will. When we are immersed in the story told by the camera and the scene laid out for us, have we ever thought of the "person with the camera" behind the camera? "Woolen cloth?
There was a recent book about movies called "My Camera Doesn't Lie," and what "The Man With the Camera" seems to be telling us is that the camera can never fail to lie.
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