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Ballet mécanique, conceived by painter Fernand Léger and photographed by filmmaker Dudley Murphy (possibly with some involvement from Man Ray), is a rhythmic interplay between human and object. Affected by his experience of fighting in World War I, and in particular by the mustard gas attack that left him hospitalized for a year, Léger became fascinated with mechanical technology, which would feature heavily in his post-1917 art. Ballet mécanique, his only film, is an example of this juxtaposition of man and machine: gears and pendulums vs. eyes and mouths, pistons pumping vs. a woman’s endless climb up the stairs, clocks vs. legs. A kaleidoscopic combination of faces and kitchen utensils, Ballet mécanique was completely unlike contemporary commercial movies, and would pave the way for other revolutionary films like Metropolis and Limite. If you were to see Ballet mécanique installed in one of our galleries or projected in one of our theaters, it would look a little differ
