An impression of the state of the world in 1929, contrasting similarities and differences in religion, customs, art and entertainment from all over the world. The film is constructed like a symphony.

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Cast

Cast overview:
Ivan Koval-Samborsky ...
Der Matrose
Renée Stobrawa ...
Die Frau
Grace Chiang ...
Die Japanerin
O. Idris ...
Tempeltänzer
Heinrich Mutzenbecher ...
Leiter der Filmexpedition, Himself
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An impression of the state of the world in 1929, contrasting similarities and differences in religion, customs, art and entertainment from all over the world. The film is constructed like a symphony.

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Documentary

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12 March 1929 (Germany)  »

Also Known As:

World Melody  »

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(restored)

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(partly silent)

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1.33 : 1
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Giddy rush
1 January 2017 | by (Greece) – See all my reviews

There is no fathoming our modern world for me outside the invention of the camera, this newfound ability to take up the world in terms of timeflow and shuffle it in reflection. It is the world standing on the precipice of modernity that silent cinema uncovers after all, looking a little damp and sunless from the centuries, but also a little startled and excited as it prepares to make the leap and finds all around it wondrous tools for that leap, automobiles, trains and cinemas.

The impulse would have been simple for silent makers, simple but no less exciting for that. All these things waiting to be documented as if for a first time. It was so in that Leeds film about traffic some thirty years before and so it is here. Ships, streets, structures, activities from the bustle of the modern city to native dances, the film is a travelogue that celebrates the swirl of being able to now have views of all these things in the same space. Among them now are sounds; the film is offered as the first German sound film. They were making so called 'city symphonies' at around this time; the filmmaker behind this being responsible for one of the very best I know. We would call this a world symphony.

All told, it isn't particularly worthwhile other than as a cachet of images from the time when our gaze was beginning to go global. The impulse for this type of film hasn't gone away of course but rather undergone a shift. This mode, more evidently symphonic, continues in films like Koyannisqatsi only the modern world is presented there in the cautionary light of having strayed too far and contrasted with the sanctity of the natural order. The modern lunge is here celebrated with wide-eyed eagerness. Still the eye is as rather dull as it would later be in Koyannisqatsi. Contrasts between old and new, far and close.

Because after all the camera is a marker of modernity in another sense as well. It's not simply that far and close could be shuffled now, past and present, it's that the whole unraveling of appearances - all this motion in every direction of perception - being facilitated by the modern surge forward, reveals a narrative eye with the ability to leap and surge itself, an eye that gives rise to world.

This is what more erudite filmmakers of the time, in Paris and Moscow, were busy exploring, the mechanisms that control that surge of the eye. I would rather pick up the thread there. The vital distinction is between the camera as device that records and as soul that surges through to animate. Such efforts were running parallel to a good deal of modern thinking about how the world is put together; I'd like to imagine, somewhat wistfully, that an alert mind of the time would have been as stimulated by news from Solvay as by the dreamlike uncertainty of Menilmontant. But that's another story.


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