Witty, sassy, with an infectious joie de vivre, The Man with a Movie Camera demonstrates Dziga Vertov's "kino–eye" theory endowing the camera with the flexibility of the human eye-and the associative powers of a poet's brain. An ecstatic portrait of a city and its inhabitants (really three cities, Moscow, Kiev, and Odessa merged), it is a compendium of extravagant camera and editing techniques, forever commenting on itself and our own watching. Appropriately, the camera-hero takes a bow at the end.