"The Very Eye of Night" is the final completed film of Maya Deren, the Ukrainian-born American experimental filmmaker, (underrated) film theorist, dancer, choreographer, and voodoo priestess whose life and work is the very embodiment of the "independent" ethic and who has consequently exerted a tremendous influence on both mainstream and avant-garde American cinema. A word of warning: Deren is best known for her debut film "Meshes in the Afternoon" (1943), a dream-logic feminist nightmare which owes a lot to surrealism (although she actively disputed the categorization) which these days finds a sympathetic interpretation among attendees of art-house cinemas and/or feminist university courses. And rightly so, as the film is incredible and easily sits among the best the avant-garde has to offer
however, as "The Very Eye of Night" comes some fifteen years later, after Deren has incorporated her love of dance into her films and explored the exotic rites of voodoo, those expecting anything along the lines of "Meshes
" are going to be sorely disappointed. Instead, we have a total absence of narrative and, like her earlier "Meditation on Violence" (1948), a film totally given over to dance – in this case ballet. However, while not exactly a fan of ballet, I nevertheless enjoyed the film due to the creative use of the negative print of the ballet dancers who seem to float through a starry sky giving the impression, less of a dream, and more of a transcendent out-of-body experience among the stars and watching ancient gods at play.
A key characteristic of Deren's films has always been the creative use of simple camera tricks to spectacular effect: and this film is no different. Indeed, whereas her other films were resolutely earthy and material (albeit invariably with a dream-like ambiance) the totally other-worldly realm she creates in "The Very Eye of Night" with the double exposure and negative print is truly magical and could be seen as the culmination of her work. This said, like many, I find her earlier work (especially "At land" (1944) and "Ritual in Transfigured Time" (1946)) much more satisfying and "The Very Eye of Night", despite both the magical ambiance and the enchanting score from her third husband Teiji Ito, seemed to me to just fall a little bit on the side of boring after about the 10 minute mark. Yet, this aside, Deren's artistic vision cannot be doubted and the film stands as an appropriate final bow in the oeuvre of a true pioneer which should be seen by anyone interested in the work of this amazing woman.
A key characteristic of Deren's films has always been the creative use of simple camera tricks to spectacular effect: and this film is no different. Indeed, whereas her other films were resolutely earthy and material (albeit invariably with a dream-like ambiance) the totally other-worldly realm she creates in "The Very Eye of Night" with the double exposure and negative print is truly magical and could be seen as the culmination of her work. This said, like many, I find her earlier work (especially "At land" (1944) and "Ritual in Transfigured Time" (1946)) much more satisfying and "The Very Eye of Night", despite both the magical ambiance and the enchanting score from her third husband Teiji Ito, seemed to me to just fall a little bit on the side of boring after about the 10 minute mark. Yet, this aside, Deren's artistic vision cannot be doubted and the film stands as an appropriate final bow in the oeuvre of a true pioneer which should be seen by anyone interested in the work of this amazing woman.