In the Soviet Union, Dziga Vertov was determined to retain the integrity of filmmaking as an art form in its own right, one which did not rely on the tropes of any other and so he created his dazzling film The Man With A Movie Camera. In the film's opening title sequence he proclaimed: "This film presents an experiment. A film without inter-titles. A film without a scenario. A film without sets, actors etc. This experimental work aims at creating a truly international absolute language of cinema based on its total separation from the language of theatre and literature."
What follows is a just over an hour of documentary-style footage of a day in the life of the city. There are some dazzling shots on the streets, in offices - of poverty, of great splendour - there are trick shots, special effects and in-jokes. This is a movie about movies - in some shots we see a cameraman at work, carrying out risky and death-defying acts to secure shots for the audience's entertainment. He is nearly mown down by a speeding train, crawling on his hands and knees down a mineshaft and flying over turbulent a river in a crane. This really is great stuff - however the most magical of all are the shots of people, there are those that hide from the camera and those that play up to it - those that ignore the man with the movie camera and those that are transfixed. The Man With A Movie Camera really is a celebration of the movies and a record of filmmaking at that historic turning point in film history.
But, what of Michael Nyman? Well for one he must have a damn good agent to have got him an above the title credit in this as Michael Nyman's The Man With A Movie Camera. This is a typical Nyman score - troubling and discordant lifted straight from any of his scores from The Draughtsman's Contract to The Piano. Having not heard any of the film's previous scores I have nothing to compare it to - but it is Vertov's images that have stayed with me not Nyman's score.