Man With A Movie Camera

It's the montage that gets us really excited here; the questions are, is there a pattern, is there a narrative structure?
There may indeed be some kind of deliberate rythm, of some shot returned to after four (say) other shots, or a longer more relaist shot deliberately put in at a certain proportional point. Or it may all be down to the eye, subjective, of Vertov and his editor. There is an obvious structure of narrative in parts, and the wider one of the day in the life of the city, the city symphony, is clearly in place. It seems doubtful though that the 'man with the movie camera' himself actually follows a coherent structure.
Sopmetimes the montage really does get so fast as to confuse the eyes. This is a film that sucks you towards it, time does not pass at all. This is what montage cinema does, takes you outside of yourself, frankly reduces you to a sivering ball. A good thing or a bad thing? A great film.