Kino Eye

IMDb Rating 7.2 10 663


Downloaded 6,565 times
September 4, 2019



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667.35 MB
23.976 fps
78 min
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1.26 GB
23.976 fps
78 min
P/S N/A / N/A

Movie Reviews

Reviewed by jayraskin1 10 / 10 / 10

The Edge of Avant Garde Cinema

This is a fantastic film from Dziga Vertov. It is quite personal and yet shows the intense and varied activities of numerous people in the Soviet Union of 1924. It is as artistic and creative as anything being done in the United States or Germany at the time. It was cutting edge cinematic constructivism. It is interesting to compare this film with Vertov's "Three Songs of Lenin" ten years later. While "Kinoeye" is interested in showing the truth about life and the world, "Three Songs" is only interested in dogmatic praise of Lenin. The two films show the difference between the Soviet Union of Lenin and the Soviet Union of Joseph Stalin. This film shows people drinking, smoking, taking cocaine, and joking. We see disfigured people in an insane asylum, we see a homeless boy sleeping in the streets and a man who died in the streets. In contrast to this, in "Three Songs," everybody is heroic and everybody is marching forward, there are more machines than people, and the film suggests that Lenin magically solved all the problems of the past. One can argue that the Soviet Union was facing the threat of Nazi Germany in 1934 and therefore needed heroic militaristic films to inspire their people. The same images of poverty and people just surviving day to day, that we get in "Kinoeye" would not have inspired people faced with the threat of Nazi insanity. These things are hard to judge, but when socialist realism turned into socialist heroism and only showed the good and strong instead of showing everything, I think it took a big step away from the truth. I should like to think that Lenin would have loved "Kinoeye" and hated "Three Songs of Lenin". After all, he never flinched from looking upon and seeing the darker sides of reality.

Reviewed by cmischke 8 / 10 / 10

Just enjoy the pictures (and the kids' faces)

I watched this movie after being completely blown away by Vertov's "Man with a Movie Camera". No, it is not the same (not nearly as abstract), and, yes, it certainly qualifies as 1920's agit-prop. But there are many, many beautiful little moments and wonderful little scenes with children, showing innocent yet enthusiastic faces, energy and passion. Looking past the inter-titles and the propaganda aspects, this remains thoroughly enjoyable and still an amazing piece of work given the 1924 date of the movie. It's real Vertov (his style is apparent from almost every frame), and if you like his other pieces, this will certainly be worth watching. The editing also worth noting. The bouncy semi-pastiche soundtrack on the version I watched did not help much --- I turned it virtually all the way down. Just amazing, here I'm sitting in South Africa, in 2006, having watched a movie from 1924 --- perhaps the greatest thing about the DVD standard!

Reviewed by Quinoa1984 8 / 10 / 10

visually alive and sometimes complex, though not for the tiresome

I watched this film as part of a documentary film class, and it was at least visually one of the best I had seen. It's got a real quality to it that tries to separate itself, unintentionally of course, from the more simple propaganda films. Of course, many of the images here are displayed to show the working life of the people, some of the levity, the everyday occurrences, and mostly enveloped in scenes revolving around children. Much of this is meant, for the period, to rally support for the causes of the time, as Dziga Vertov, at least from his writings, comes off as wanting immediate change through the power of the cinema. Over time, as it is silent and- due to the staging of some of the scenes (the opening vodka blintz is amazing, if maybe not seeming all the way on-the-spot real)- doesn't inspire the greatest amount of attention to detail though. Despite some of the lesser qualities of the film, the pure cinematic abandon and confidence in this new emerging way of telling stories in a subjective lens detailing real life endures to this day. Seeing some of these scenes with the pioneers, their practices, is pretty amusing. And a little trick involving the bull going backwards on the beltway is also close to being funny (and riffing on tricks already at use in comedies. But more than anything innovations like these strike a chord within their apparent themes. Messages do abound in the film, but it's not entirely the focus here. What it really is is just a fearless (for its time), fascinating use of the silent portable camera, where shots could be possible that weren't before giving more chances to capture a truth in life not found in studios. Even as it's years after the Russian revolution and the country's cinematic aspirations change drastically, something quirky and sincerely made like this is worth a look. If nothing else as film history, like one of the first examples of what today is reality TV, or rather what's really lacking in it.

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