The first five minutes of Ritual in Transfigured Time (1946 )are probably the finest she did up until then. That first third still partakes of that atmosphere dreamline and supine characteristic of her earlier work, but stripped from that which the mind is quick to associate meaning to, that symbolic quality is often an end in itself rather than a means. The beauty of the surreal, and perhaps the most difficult thing to achieve, is to create the situation the viewer will project upon his own feelings rather than try and decipher the filmmaker's. The film still guides you in that it chooses X visual instead of Y but there's no right or wrong interpretation to be deciphered. Kind of like walking around London with a map of Berlin without knowing you're in London or the map is of Berlin. The scene in the crowded room wasn't quite as good, it's still a drone, but not a visually interesting one I thought. The dancing segment that closes the film recalls A Study in Choreography for Camera but how it all ties in remains a mystery.
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