Influenced by the montage experiments of Dziga Vertov, this 'document' has been fashioned by Jean Vigo and his cameraman Boris Kauffman who just happened to be Vertov's brother. Although this could be seen as Vigo's contribution to the 'city-symphony' genre, beneath its surface lyricism lies a distinctly mordant polemic on social inequality.
Being a Marxist and the son of an executed Spanish anarchist, Vigo has a definite point of view and disguises neither his contempt for the 'haves' nor his sympathy for the 'have-nots'.
Some sequences were considered in 'bad taste' at the time not least the series of dissolves that strips a fashionably dressed young woman down to her birthday suit. This was, unsurprisingly, excised by the puritanical British censor but has happily been restored!
This short but telling piece is one of striking contrasts and Vigo's fragile state of health must surely have coloured his depiction of the Carnival as a prelude to the inevitable.
He did in fact die at twenty-nine but lived just long enough to give us one of the undisputed masterpieces of world cinema, 'L'Atalante'. Let us give thanks for that.
Being a Marxist and the son of an executed Spanish anarchist, Vigo has a definite point of view and disguises neither his contempt for the 'haves' nor his sympathy for the 'have-nots'.
Some sequences were considered in 'bad taste' at the time not least the series of dissolves that strips a fashionably dressed young woman down to her birthday suit. This was, unsurprisingly, excised by the puritanical British censor but has happily been restored!
This short but telling piece is one of striking contrasts and Vigo's fragile state of health must surely have coloured his depiction of the Carnival as a prelude to the inevitable.
He did in fact die at twenty-nine but lived just long enough to give us one of the undisputed masterpieces of world cinema, 'L'Atalante'. Let us give thanks for that.