When the Bolsheviks overthrew the old order in those “10 days that shook the world” in 1917, they aimed for the revolution to be in all aspects of social life. Two years later, Vladimir Lenin, “The cinema is for us the most important of the arts.” Indeed, the Soviet s replaced the Lumière travelogues that went from town to town with agit-trains, running the rails of a war-torn Russia armed with communist libraries and movie theater cars playing propaganda newsreels.
Vertov and his Council of Three turned out to be too formally radical for the incredibly radical moment they found themselves trying to shape, and by the time they premiered their masterpiece in Moscow during April 1929, they had started to alienate their revolutionary peers. Yet 95 years later,Before even the city sleeps, the movie theater does. A projectionist enters and awakens the world. Chairs fold themselves down and invite the masses to sit on them. The people shuffle in.
Unlike Vertov’s contemporaries, scenes are not staged, but discovered—the unfolding of the world becoming the stone to carve the film from rather than using stages and actors to mold a picture out of clay. Vertov railed against his contemporaries using motion pictures like “a mere literary skeleton covered with a film-skin” in his 1923
While Eisenstein was looking for comparisons to the expressive qualities of motion inherent to cinema by way of old techniques—like the drawn-out emotions of kabuki theater—Vertov wanted the stuff from which cinema was made to be ideas of cinema itself. Where Eisenstein emphasized mise en scène as a necessary building block to montage, Vertov practically said to hell with it: Don’t place anything in the scene except the eye.
Bolsheviks Revolution Cinema Soviet Denis Kaufman
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