Dog Star Man: Part I

1963
6| 0h30m| en| More Info
Released: 18 March 1963 Released
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Synopsis

From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, and he's accompanied by a dog. His labors continue. There is no soundtrack. Images rush past - water, trees, and surfaces too close up to distinguish. He struggles. A fire burns. Nature, in long shots and magnified, is formidable and silent. It's tough going; he carries on. In a capillary, blood flows.

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Reviews

TinsHeadline Touches You
MamaGravity good back-story, and good acting
RipDelight This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.
MusicChat It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.
MisterWhiplash With this 'first' part of Dog Star Man (I'd say you should watch the Prelude before this, but I don't buy that there's exactly a strong 'continuity' here, this isn't the Marvel universe or something), we get more of a narrative this time. By 'more' I mean that there is at least a character of a sort - a rugged man (Brakhage himself) climbing up a mountain. Ala that song by Chumbawumba (remember that one, yes I went there), he gets knocked down and then he gets back up again, and his visions won't keep him down. That is, if they are visions.This time there are more steady shots that last longer than the half a second or less that we got in the Prelude section, and yet in a strange way I wish it was *more* abstract. Because of there being "character" or a person or whatever, there's some expectation set up, at least for me, for more to go on. What we get is the furious, rapid-fire and stream of consciousness approach to imagery, where things go by so far I visage about 100 images in 20 seconds, and then it goes back briefly to slow-motion shots of the man climbing ever so slowly up the mountainside. Sometimes the dog is there and sometimes not.Maybe it makes the most sense as this section being like some abstract documentary of what it takes to climb up a mountain, and if you're in a mood that is rather infuriating your mind will go at a very fast clip across images and sights and things that may be unspeakable. That's what this series is strongest as it approaching things like red membranes where cells and tiny organs pulsate, and the sun, shot with a lens that makes it look up close and personal, is imposing in some way that is far off but close at the same time.And yet for all of the strong passages, I think having the man going up the hill, for as long as this movie is (30 minutes), makes it more monotonous. At least with the Prelude you didn't know what to expect, and it's more of a journey through someone's subconscious or unconscious. Here it's a mix of both this less-than-bare-bones scenario of a man on the mountain (albeit personal to Brakhage, who was out of work at the time with kids and one on the way, and this feels like a battle to persevere), and the abstract stream. It works, but not to where it's as outstanding as the Prelude.
Horst in Translation (filmreviews@web.de) Stan Brakhage made this half-hour short film over 50 years ago when he was in his late 20s. It is the first of four parts, however there is a prologue which runs for almost as long as this first part and Brakhage made a 5th part as well over 30 years after part 4. I wish I could talk a bit more about what was happening, but honestly I have no idea. The camera was so wild and all over the place to understand even remotely what was going on. of course, I could read it, but that's not the purpose of film as medium. You need to understand it from what you see. Occasionally, there were a man and a dog visible, but that's all I could make out. Looked like they were living in some remote era. I am not the greatest fan of Brakhage, but I definitely prefer his kaleidoscope-like animated film that only run for a couple minutes and it baffled me to see how popular this one here is. I found it boring from start to finish and have no plans to ever see it again. Not recommended.
Brian Douglass If anyone tells you that this movie is boring, you won't enjoy it, you don't get it, then this person doesn't know the first thing about film. For a film to be put in the National Congress Library, and claimed as "The most important film ever made", hands down, you must be missing something.Dog Star Man, as a whole, is the most amazing experience you could ever sit through. If sitting through "Tears of the Sun" with Bruce Willis was "the best movie ever", then you have never traveled to the avant-garde world of cinema. I would have to say that you should look at "Dog Star Man" and then "Mothlight" if you need to see a good movie. The film itself holds a story in each frame. Seriously, all would love this film. If you have something negative againest this film, please take into consideration what it takes to put something like this together.Light, picture, sounds. Brakhage is more than a filmmaker.RIP: SB 1933-2003
schachtmant This 5-part montage is clearly a technical masterpiece, but like most surreal art pieces, it is dangerous to conceptualize with any confidence. It is highly recommended that that viewer experience all five parrts as they are certainly related. Although I am ignorant of the technical aspects of filmmaking, this film surely is mandatory viewing for film students since it appears to use every trick in the book for imagery-based, fast-cut filmmaking. Conceptually (as one viewer's take on the film), the film is about a young male in a cold, snowy alpine-like setting and his dog as they work their way along through the cold, harsh, dangerous elements. We experience what hapens in the mind and body of this individual during the ordeal, including scenes of the outdoors, biomedical footage of the inner workings of the body's tissue and organs, interactions between this man and a woman's body, his dog, celestial shots, the birth and first year of a new born baby. All of this is put together with great artistic talent (I was often reminded of work by Paranjanov, Tartovsky and Greenaway but I am not sure that any connection is warranted anywhere except in my own reaction) and depicts one man's fast-paced struggle with all of these experiences. The full-length feature is long and taxes one's attention, but the journey is worth it for those willing to take such an adventure.

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