Shestaya chast mira (1926) Poster

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Could be one of the few "perfect" films ever made
almacal21 December 2000
What a delight. Beautiful, poetic, rhythmic editing. Certainly the best all - out documentary EVER made. In fact, the perfect documentary. Eisenstein may have invented Narrative style but Vertov is the master of montage. Beautiful, sadly obscure stuff.
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Soviet self-congratulatory propaganda
Gerald A. DeLuca8 September 2007
Warning: Spoilers
This relatively unseen silent classic propaganda documentary from the former Soviet Union in its first decade is a self-congratulatory paean to the "wonders" of socialism and Russian life.

Once you understand that, it is easy to revel in the succession of spitfire montage showing a new nation in the frenzy of work and play. Much of the magnificently edited imagery deals with factory production and machines and "the machines that make machines." From European Russia to the wilds of Siberia, it all finds a part here, and the call is to the presumably deprived workers of other nations of the world who need to take this Utopian dream as a model for their own futures. Papa Stalin is there too in a few images to provide his paternal incentive.

The film is a perfect example of how movies can transcend their subjects, even if they are agit-prop, to win us over on a gut level, if not on an intellectual one. Films like this one of Dziga Vertov, are the leftist-Marxixt equivalent of the rightist-Nazi works of German propagandists, such as Riefenstahl's "Triumph of the Will." All are worth seeing with an open mind and a historical perspective.
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Mesmerizing Film Collage As Fascinating As The Extinct U.S.R.R. itself
FerdinandVonGalitzien15 February 2013
Herr Dziga Vertov was certainly one of the most important film directors in the history of the U.S.S.R., an innovative director, documentary maker and film theorist who used cinematography as the perfect vehicle for his artistic endeavors, achievements not always fully understood or shared by either his colleagues or the Soviet authorities.

Herr Dziga Vertov's film style "Kino-Glaz" ( Cinema Eye ) reflects perfectly the artistic concerns that the Russian director had in the mid 20's, films wherein the use of editing is fundamental in order to put in images Herr Vertov's film artistic theories about the camera capturing reality. However, this is something of a contradiction because editing is in a certain way the manipulation of reality… "Shestaya Chast Mira" ( One-Sixth Of The World ) (1926) was commissioned by Gostorg, an agency of the Russian Government. Not surprisingly, the film is a paean to the powerful possibilities of the U.S.R.R., a big country composed of an enormous diversity of people, races and nationalities, masters of the sixth part of the world who will put their efforts in the service of their country to make it a world power.

Herr Vertov shows us many industrial sequences, the exporting of Soviet goods and a detailed ethnographical study of the many peoples that make up the Soviet Union. It is masterful propaganda. The use of editing is certainly astonishing and obviously fundamental for this kind of picture wherein different shots and sequences melt together to convey a political message and an artistic study, including fascinating camera angles and film techniques like split screens, animation and the travelling camera. All this creates mesmerizing film collage as fascinating as the extinct U.S.R.R. itself.

And now, if you'll allow me, I must temporarily take my leave because this German Count must ask for the whole part of his inheritance from one of his Teutonic rich heiresses.

Herr Graf Ferdinand Von Galitzien
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