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After the Bolshevik Revolution, the Kaufman parents moved back to their native Poland, leaving elder siblings Denis (Dziga Vertov) and Mikhail in the newly born Soviet Union while taking the much younger Boris with them. In 1927, Boris emigrated to France, hoping to work as a cinematographer after being “trained” by elder brother Mikhail through letters describing his work with Dziga Vertov and the “kinoks.”
Meeting up with Jean Vigo, an aspiring director and activist, Kaufman embarked with him on a project on the French city of Nice. One of the great examples of the “city symphony” film genre, A Propos de Nice combines a dizzying selection of images of the inhabitants and buildings, back alleys and mansions; the film is an ironic guided tour of a city that had become synonymous with high living and beautiful people. Kaufman’s extraordinary eye for capturing fresh, little-seen aspects of urban environments remains one of the most characteristic aspects of his art, as seen in such later films as On the Waterfront and The Pawnbroker.
followed by
A great popular favorite, Zero for Conduct shows off Vigo’s anarchist roots in this delightful chronicle of a revolt by students against school authorities. The film has an infectious, madcap quality, seen perhaps most brilliantly in the extraordinary and oft-quoted pillow fight, one of the perfectly surrealistic sequences in film history and a powerful example of Kaufman’s already impressive range as a cinematographer.
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Fri Nov 17: 4:15;
Wed Nov 22: 3 & 6:15
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