Taris

Plot

Jean Vigo's 1931 short documentary 'Taris' is a revolutionary cinematic study of French champion swimmer Jean Taris. The film follows Taris as he demonstrates various swimming techniques, but transcends mere athletic documentation through Vigo's innovative visual approach. Using underwater photography, slow motion, freeze frames, and dramatic camera angles, Vigo captures the poetry of human movement through water. The documentary showcases Taris's athletic prowess while simultaneously exploring the abstract beauty of the human form in motion. Vigo transforms a simple sports demonstration into an artistic meditation on grace, strength, and the relationship between body and water.

Historical Background

'Taris' was created during a fascinating period in French cinema history, the early 1930s, when the transition from silent to sound films was still underway. This era saw the emergence of the avant-garde movement in France, with filmmakers like Luis Buñuel, Jean Cocteau, and René Clair pushing cinematic boundaries. The film was made during the Third Republic, a time of artistic freedom and experimentation in France. The Great Depression was affecting global economies, but French cinema continued to produce innovative works. The documentary form itself was evolving from purely educational or anthropological purposes to embrace artistic expression. Vigo's work emerged alongside the poetic realist movement that would soon dominate French cinema. The film also reflects the growing interest in sports and physical culture in interwar Europe, where athletic achievement was often tied to national pride and physical perfection.

Making Of

The making of 'Taris' represents a remarkable story of artistic rebellion within commercial constraints. Jean Vigo was approached by the French Ministry of Education to create an instructional film about swimming techniques. Instead of producing a dry educational piece, Vigo saw an opportunity to create poetry through cinema. Working with cinematographer Boris Kaufman, who would later win an Oscar for 'On the Waterfront,' Vigo pushed the technical boundaries of 1931 filmmaking. The underwater sequences required custom equipment and posed significant challenges, as waterproof camera technology was in its infancy. Vigo insisted on filming in natural light whenever possible, creating a luminous quality that enhances the film's dreamlike atmosphere. The collaboration between Vigo and swimmer Jean Taris was crucial - Taris had to perform his routines repeatedly from different angles while maintaining perfect form for the camera. Vigo's innovative editing techniques, including freeze frames and slow motion, were revolutionary for the time and required painstaking work in the editing room.

Visual Style

The cinematography of 'Taris,' executed by Boris Kaufman, is revolutionary for its time and remains visually stunning today. Kaufman and Vigo employed groundbreaking techniques including underwater photography, which was extremely rare in 1931. They used multiple camera angles simultaneously to capture Taris's movements from above and below the water surface. The film features dramatic close-ups that isolate parts of Taris's body, creating abstract compositions of muscle and water. Slow motion sequences reveal the poetry of swimming strokes, while freeze frames capture perfect moments of athletic grace. The lighting is particularly noteworthy, with natural light filtering through water to create ethereal effects. Kaufman's camera moves with fluidity that mirrors the swimmer's own movements, creating a dance between subject and camera. The black and white photography emphasizes the contrast between skin and water, turning athletic movement into visual art.

Innovations

'Taris' represents a remarkable achievement in early cinema technology, particularly in its pioneering use of underwater photography. The film's technical innovations include the development of custom waterproof camera housing that allowed for clear underwater shots, a significant challenge in 1931. Vigo and his team experimented with various camera speeds to create slow-motion effects that reveal the mechanics of swimming strokes. The freeze frame technique, while not invented by Vigo, was used here in an artistic context that was unprecedented for documentary filmmaking. The film also demonstrates sophisticated understanding of water optics, with Kaufman managing to capture clear images despite the distortion and refraction challenges of underwater photography. The synchronization of multiple camera angles for comprehensive coverage of athletic movement was ahead of its time. These technical achievements were accomplished with limited resources, making the film's visual sophistication even more impressive.

Music

As a film from the early sound era, 'Taris' features minimal sound design typical of transitional period films. The original version likely had a synchronized musical score rather than recorded dialogue or natural sound. Given its educational purpose, it may have included narration explaining swimming techniques, though this would have been secondary to the visual presentation. The music would have been composed to complement the rhythmic movements of swimming, possibly using classical pieces that matched the graceful nature of Taris's performance. No specific composer is credited for the original score, which was common for short films of this period. Modern restorations typically feature newly commissioned scores that attempt to capture the film's poetic quality while respecting its historical context.

Memorable Scenes

• The underwater sequence where Taris swims directly toward the camera, his body slicing through the water in slow motion, creating a dreamlike ballet of athletic movement. The freeze frame of Taris in mid-dive, his body perfectly arched against the water's surface, transforming athletic action into abstract sculpture. The close-up series of Taris's hands and feet as they propel through water, revealing the intricate mechanics of swimming technique. The above-water shot showing Taris's reflection in the pool surface, creating a dual image of swimmer and his mirror self. The final sequence where Taris emerges from water, glistening and triumphant, captured in heroic silhouette against the bright pool lighting.

What Critics Said

Upon its release, 'Taris' received mixed reactions from critics, many of whom were unprepared for Vigo's radical approach to what was supposed to be an educational film. Some critics dismissed it as overly artistic and not sufficiently instructive for its intended purpose. However, avant-garde circles immediately recognized its significance, praising Vigo's visual poetry and technical innovation. French critic and filmmaker Georges Sadoul later hailed it as 'a masterpiece of cinematic poetry.' Over time, critical appreciation has grown substantially, with modern critics viewing it as a groundbreaking work that transcends its documentary origins. Contemporary film scholars often cite it as a precursor to music videos and modern sports cinematography. The film is now widely regarded as one of Vigo's most important works, alongside 'Zero for Conduct' and 'L'Atalante,' and is studied in film schools as a prime example of how technical innovation can serve artistic vision.

What Audiences Thought

Initial audience reception to 'Taris' was limited due to its nature as an educational short film, which meant it was primarily shown in schools and specialized venues rather than commercial cinemas. General audiences who did see it were often confused by Vigo's artistic approach, expecting straightforward swimming instruction. However, among cinephiles and avant-garde film enthusiasts, the film developed a cult following for its innovative techniques and visual beauty. Over the decades, as Vigo's reputation grew, audiences came to appreciate 'Taris' not just as a technical achievement but as a work of art. Modern audiences, accustomed to sophisticated sports cinematography, can better appreciate the film's revolutionary nature. Today, 'Taris' is frequently screened at film festivals and retrospectives dedicated to avant-garde cinema, where it consistently impresses viewers with its timeless visual poetry and technical audacity.

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