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One Hour (1990)

Manhattan. July 26, 1990. 15:45 ~ 16:45.

6.61h 0mDocumentary
▶ Watch Now (Free HD)IMDb ↗TMDB ↗

Synopsis

One of the longest handheld tracking shots in film history, It’s Real documents an hour in the street life of downtown Manhattan. Not only is it a unique record of a particular time and place—July 26, 1990, from 3:45 to 4:45 p.m. in the Lower East Side near Robert Frank’s studio (we note in a Daily News headline that after some 20 years the Zodiac killer still hasn’t been identified)—it’s also an experiment in fragmentary language, gesture, and life caught unawares. Snippets of dialogue captured in passing at phone booths and crosswalks, in alleyways, subways, and diners—chance encounters, only presumably, with people going about their day—have something of the aleatory cut-up technique of the Dadaists in the 1920s and William Burroughs and Byron Gysin in the 1950s, an effort to divine new and deeper meanings in ordinary life. — Museum of Modern Art

Movie Information

Director
Robert Frank
Writers
Jerry Poynton, Michal Rovner, Robert Frank
Release Year
1990
Runtime
60 minutes
Genre
Documentary
Language
EN
Country
France
Status
Released
Rating
6.6 / 10 (5 votes)

Top Cast

Taylor Mead — cast portrait
Taylor Mead
Peter Orlovsky — cast portrait
Peter Orlovsky
👤
Odessa Taft
👤
Jim Stark
Gangster
Kevin J. O'Connor — cast portrait
Kevin J. O'Connor
William Rice — cast portrait
William Rice

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One of the longest handheld tracking shots in film history, It’s Real documents an hour in the street life of downtown Manhattan. Not only is it a unique record of a particular time and place—July 26, 1990, from 3:45 to 4:45 p.m. in the Lower East Side near Robert Frank’s studio (we note in a Daily News headline that after some 20 years the Zodiac killer still hasn’t been identified)—it’s also an experiment in fragmentary language, gesture, and life caught unawares. Snippets of dialogue captured in passing at phone booths and crosswalks, in alleyways, subways, and diners—chance encounters, only presumably, with people going about their day—have something of the aleatory cut-up technique of the Dadaists in the 1920s and William Burroughs and Byron Gysin in the 1950s, an effort to divine new and deeper meanings in ordinary life. — Museum of Modern Art

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