Customer Reviews

Avant Garde - Experimental Cinema of the 1920s & 1930s

5 star:		(11)
4 star:		(3)
3 star:		(2)
2 star:		(3)
1 star:		(0)

 

 

This features a number of directors better known as painters (Fernand Leger, Marcel Duchamp) or photographers (Man Ray). For the curious, there is a short Orson Welles film from 1934, fully seven years before Citizen Kane. "The Life and Death of 9413, A Hollywood Extra" is on the Library of Congress's National Film Registry of significant American films, as is "H²O". Ménilmontant, at 37 minutes the longest film in this collection, is considered a masterpiece by some.

Worth exploring, if you like this sort of stuff. You know who you are.

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It drives me nuts that Amazon doesn't include the bare-bones information about the films in this sort of collection, so I will:

Le Retour à la raison (The Return to Reason)
Directed by Man Ray
France 1923
2 Min.

Emak-Bakia (Leave Me Alone)
Directed by Man Ray
France 1926
16 Min.

L'Étoile de mer (The Starfish)
Directed by Man Ray
France 1928
15 Min.

Les Mystères du Château du Dé (The Mysteries of the Château of Dice)
Directed by Man Ray
France 1929
20 Min.

Ménilmontant
Directed by Dimitri Kirsanoff
France 1926
37 Min.

Brumes d'Automne (Autumn Mists)
Directed by Dimitri Kirsanoff
France 1928
12 Min.

The Life and Death of 9413, A Hollywood Extra
Directed by Robert Florey and Slavko Vorkapich
US 1928
13 Min.

Lot in Sodom
Directed by James Sibley Watson and Melville Webber
US 1933
27 Min.

Rhythmus 21 (Film Is Rhythm)
Directed by Hans Richter
Germany 1921
3 Min.

Vormittagsspuk (Ghosts Before Breakfast)
Directed by Hans Richter
Germany 1928
9 Min.

Anémic Cinéma
Directed by Marcel Duchamp
France 1926
6 Min.

Ballet Mécanique
Directed by Fernand Léger
France 1924
11 Min.

Symphonie Diagonale (Diagonal Symphony)
Directed by Viking Eggeling
Germany 1924
7 Min.

Le Vampire
Directed by Jean Painlevé
France 1939-45
9 Min.

The Hearts of Age
Directed by Orson Welles and William Vance
US 1934
8 Min.

Überfall (Assault)
Directed by Ernö Metzner
Germany 1928
22 Min.

La Glace à trois faces (The Three-Sided Mirror)
Directed by Jean Epstein
France 1927
33 Min.

Le Tempestaire (The Tempest)
Directed by Jean Epstein
France 1947
22 Min.

Romance Sentimentale (Sentimental Romance)
Directed by Sergei Eisenstein and Grigori V. Alexandrov
France 1930
16 Min.

Autumn Fire
Directed by Herman G. Weinberg
US 1931
15 Min.

Manhatta
Directed by Paul Strand and Charles Sheeler
US 1921
10 Min.

La Coquille et le Clergyman (The Seashell and the Clergyman)
Directed by Germaine Dulac
France 1926
31 Min.

Regen (Rain)
Directed by Joris Ivens
Netherlands 1929
14 Min.

H²O
Directed by Ralph Steiner
US 1929
12 Min.

Even -- As You And I
Directed by Roger Barlow, Harry Hay and LeRoy Robbins
US 1937
12 Min.

As the title suggests, this is a collection of 24 short films of the artistic and experimental genre, ranging from about 10 to 35 minutes in length, and each one quite different from the other. Some of them have a story that you can follow, while others are meant to be visual expressions of moods and feelings, but all of them are of a high standard and quality, and there is bound to be something to suit most tastes in this eclectic collection. My first impression was that these short films - most of them silent - have a powerful effect on the senses, not in the least due to the exceptionally good musical accompaniment by the best composers in the business. Overall, watching these films had a calming and almost hypnotic effect on me, which no doubt was often intended. Some of the highlights for me were the longer, more complex films such as "The Life and Death of 9413 - a Hollywood Extra", "Lot in Sodom" (which has been previously released by Image Entertainment with Oscar Wilde's "Salome") and "La Glace a Trois Faces" (The three-sided mirror) which contain a definite message as well as being poignantly expressive visually. Then there are themes and subjects focussing on nature, weather, architecture, and a few experiments with tricks and animation. In other words; never a dull moment - unless you are looking for the usual story film with customary action and editing, in which case this collection might not be your cup of tea. But for anyone interested in artistic expression in films, the history and development of film, or just for something entirely different, this is an excellent set. There are good notes on each film on the discs themselves so that you can easily read them first before viewing each film (which will help to understand and appreciate the film and its message) or whichever way you like. In any case, this is surely an important contribution to film history, and thanks to Kino Video for providing such a fascinating ride through the bizarre and compelling art movements of the 20s and 30s.

The musical accompaniment for most of these seminal avant-garde films is very bad. A previous reviewer mentioned that it was done by "the best in the business." Well, I am of the opinion that, unfortunately, there are not enough interesting minds in that business (silent film scoring), or at least not enough employed by Kino Video, to make for a competent collection.

There is electric guitar (Creed-style riffing!!!). There is arbitrary "Frenchy" sounding music. And yes, there is even some dreaded Casio keyboard "vox" effect.

Who could possibly think that keyboard "vox" was a good idea? Not me.

These films, like all those Kino releases, are rare and under-appreciated, and worth owning on DVD because this is the only way you'll get them. I only wish Kino appreciated them enough to pair the films with either a) historically accurate or b) competent scores.

these films are extremely high quality time capsules of cinema art. combining documentary footage with fictional situations in some. paris in the 30's. hollywood in the 30's. these are unique and wonderful. Film as poetry, experimental uses of film. these films especially menilmontant and les mysteres du chateau du de are imaginative and mysterious art works. they are beautifully photographed, Non narrative cinema the films are hypnotic and powerful. some more than others. Beautiful black and white photography done by the likes of Man Ray, Kirsonov etc.
I cannot recommend these films high enough to the lover of great photography, painting and film.

If no adjective appropriately suit this vivid collection of avant-garde films from the 20s and 30s, one reviewer came close in his chosen nomenclature: this one-of-a-kind-combilation, indeed, is "indespensable"!

For anyone interested in or in some way connected to film and film studies this box set is a true gem as well as an overwhelming visceral experience. One dare even call it "edenic".

Packed with cinematic treats - ranging from early classics as Joris Ivens' "Regen", through film historical curiosities as Marcel Duchamps' "Cinema Anémic" and Richter's "Rhytmus 21" to absolute rarities such as Kirsanoff's "Ménilmontant" - this impressive collection of short experimental films guides you through all main avant-garde genres of the 1920s and 1930s. From impressionist masterpieces ("Ménilmontant", "La glace a trois faces" [Epstein]), through dadaist art-films (Duchamps), French and German cinéma pur/Absolut Film ("Symphonie Diagonale" [Eggeling], "Rhytmus 21" [Richter]), futuristic statements ("Ballét mecanique" [Leger]), dazzling city symphonies ("Regen") to such seminal early sound experiments as "Romance Sentimentale" (Eisenstein & Alexandrov) and "Le tempestaire" (Epstein).

While some films may, indeed, only be labled "curiosities" others are sheer strokes of genius - my personal favorites being Kirsanoff's rare impressionistic gem "Ménilmontant" (with its impressive - in every sense of the word - use of constant P.O.V.-shots, concealing the first person) and Jean Epsteins masterpiece "Le tempestaire" whose use of suspense-generating musique concrète (or "Slow-Motion Sound", as it were) and vividly, picturesque imagery make for a unique cinematic experience. - As visceral as it is beautiful to behold.

If only for its lack of a few early classics (notably, René Clair's "Entr'act" [1924] and Luis Buñuel's "Un chien andalou" [1929] and "L'Âge d'or" [1930]) this combilation of early experimental films may not be labeled "perfect".

However, I am still to experience any other collection of its kind. For anyone studying film (whether by themselves or in University,) this box set may, indeed, only be ascribed the adjective "indespensible", as done also by a previous reviewer.

First, I recommend the majority of these films wholeheartedly. While the present-day soundtracks may in some cases be inappropriate, I find this is often the case with releases of silent films, & we are of course free to mute it & enjoy the visual elements on their own. The picture quality is good, & in purchasing a collection of silent films that's really the best one would hope for.

With regards to the review of Jmark2001, I think it's worth pointing out how important these films - & the avant-garde in general - really are in these times. Overlooking the inherent limitations of technology during that era, & the superficial stylistic idiosyncrasies that mark the films as a product of their time, the films of the Dadaists, Surrealists, & Constructivists have a great deal to offer anyone less than satisfied with the status quo. Far from the high art pretentiousness Jmark2001 accuses them of, these filmmakers were essentially concerned with rebellion, with creating a valid alternative to the decadent, insular consciousness of the middle class. This manifested itself in experiments with the physical material of film (thus the "erratic cuts" & "non-linear" style), as well as in the subject matter (including the - Dear God! - "anti-clerical" approach). While certain techniques have been overused since then by uninspired academic followers, here they are largely employed intelligently & - particularly in the films of Eisenstein, Man Ray, & Duchamp - with the utmost care toward their effects on the overall film. Few of these have been deemed "classics," but few have been easily available for viewing until fairly recently, so I certainly don't see that as any judge of quality.

Jmark2001 also displays the most basic misunderstanding of Dadaism & its revolt on bourgeois values. The "sea of random and nihilistic violence, disconnection, and rudeness (!)" Jmark2001 cites as characterising modern public life is in fact the direct result of craving the trappings of "bourgious living" [sic]. Jmark seems to equate Dada (& presumably any experimental, avant-garde art) with terrorism, & suggests that passive consumption of daily horrors in the comforts of a coffee shop is just as effective as Dada's shocks to consciousness. Well, do I really need to state that the 9/11 terrorists weren't Dadaists? There is nothing avant-garde about the methods or beliefs of the terrorists; & by the same token, anyone who is satisfied with the "security, comfort, reassurance, civility, and stability" our modern society has provided us with, post-9/11, is simply kidding himself.

We require more than ever a vision of life which neither insulates us from the world nor forces us to comply with an imposed set of ideals; which encourages active participation rather than passive consumption; & which gives the viewer's intelligence the benefit of the doubt by working in turn towards radical innovation. Without experiment, cinema is not worth watching.

& for the record, if, like Jmark2001, all you could derive from Un Chien Andalou was that it was "memorable," I would strongly recommend watching it again, WITH EYES WIDE OPEN.

For those who are interested, this DVD will not disappoint. Featuring some of the more noteworthy works from the Raymond Rohauer collection, this is an experience into cinema which is rather profound... and rapidly disappearing.

Movies have long gotten into their stride of being straight-forward narratives, with the likes of Quentin Tarantino coming across as "avant-garde" because he happens to edit his movies into a different chronology. Don't get me wrong, I love QT's work, but there's stuff like this and other works out there (Sam Brakhage, e.g.) that don't really get viewership because there's not much of an audience looking for really experimental and creative stuff.

Not everything on this collection should pre-emptively be considered wonderful or brilliant. It is, afterall, experimental cinema, and experiments do tend to fail. But for those looking for things outside the norm, imagery that just doesn't exist in contemporary works, non-narrative explorations of shape, form, patterns, or meta-narrative documentaries full of science fictiony conceits, or more, this is a good starting place.

--PolarisDiB

Pardon the references to 1960's psychedelic rock (Cream and Grateful Dead for those of you who don't know) but they seem perfectly appropriate for this mixed bag of short avant-garde films from the Raymond Rohauer Collection. As befits the title of the collection the vast majority of films offered here are French with a few American and German titles mixed in and even a film from the Netherlands. While these movies reflect Rohauer's personal taste they are also a good representation of what was going on in certain artistic circles at the time.

Of the 24 films offered my personal favorite is the 1926 LA COQUILLE ET LE CLERGYMAN (The Seashell and The Clergyman) from the set's only woman director, Germaine Dulac, which exhibits all the avant-garde tendencies and surreal imagery within a basic storyline that is as relevant today as it was back then. Many of the films are explorations in technique while a couple (Orson Welles' HEARTS OF AGE, EVEN-AS YOU AND I) poke fun at the genre.

Another favorite is the celebrated THE LIFE AND DEATH OF 9413 A HOLLYWOOD EXTRA which has cutting edge technique (though mostly shot on a kitchen table), loads of imagination, and a scathing look at the Hollywood system. I also enjoyed L'ETOILE DE MER (The Starfish) as the best of the 4 Man Ray offerings. Two German offerings stood out as well. They are UBERFALL (Assault) with it's haunted looking protagonist and VORMITTAGSSPUK (Ghosts Before Breakfast) for its imaginative effects and the rare opportunity to see composers Darius Milhaud and Paul Hindemith playing parts in a film.

Speaking of composers, the highest praise goes to the many musicians involved in scoring and performing the background music for this set. The music greatly enhances the viewing experience and in a few instances is better than the film it accompanies. This is a one-of-a-kind offering that all serious lovers of cinema (silent and sound) should obtain and decide for themselves which of the 24 titles they like best. There is much to be learned here and thanks to Kino Video and the Douris Corporation for giving us the opportunity to pursue that knowledge.

King Video gets my "Excellence in Film Arcania" award for this series of avant-garde films form the 1920s and 30s. This is a "must own" for fans of the heroic first period of experimental filmmaking. The technical quality of the transfers is excellent- a rarity among titles in this genre. The music mixed with the silent films mostly works. The one exception is the track for Ballet Mecanique- the original score by Anthiel exists and is much more appropriate. One can only hope there is an audience for these poetic and wonderfully innovative films.

This is one of the best film collection ever put together. All the films are extremely interesting and most of them excellent. Ménilmontant alone justifies buying this collection, one of the best films ever made.

The New scores are great and the notes on the films are fairly good. The picture quality varies (from bad to good) and it would have been nice to have a little more extra material. But still, this collection is a must have for anyone interested in film. One of my favorite DVDs.