Eisenstein in Guanajuato Page #6

Synopsis: The venerated filmmaker Eisenstein is comparable in talent, insight and wisdom, with the likes of Shakespeare or Beethoven; there are few - if any - directors who can be elevated to such heights. On the back of his revolutionary film Battleship Potemkin, he was celebrated around the world, and invited to the US. Ultimately rejected by Hollywood and maliciously maligned by conservative Americans, Eisenstein traveled to Mexico in 1931 to consider a film privately funded by American pro-Communist sympathizers, headed by the American writer Upton Sinclair. Eisenstein's sensual Mexican experience appears to have been pivotal in his life and film career - a significant hinge between the early successes of Strike, Battleship Potemkin, and October, which made him a world-renowned figure, and his hesitant later career with Alexander Nevsky, Ivan the Terrible and The Boyar's Plot.
Director(s): Peter Greenaway
Production: Submarine
  2 wins & 9 nominations.
 
IMDB:
6.3
Metacritic:
60
Rotten Tomatoes:
60%
UNRATED
Year:
2015
105 min
$20,852
Website
129 Views


Said it was the rains.

And when the rains had passed,

they would call me back.

So exit Eisenstein.

Jew. Red. Troublemaker. Communist.

And then I met Upton Sinclair

and came here to Mexico

to meet you, Palomino,

and Palomino's wife

and Palomino's two small children.

Who should be in bed.

So where do I sleep tonight?

- I cannot sleep naked.

- Why not?

Because I have never slept naked,

except last night when you stole my clothes.

My mother didn't like it. I didn't like it.

Someone could have stolen my virginity

when I lay there sleeping naked.

- Virginity?

- I was joking.

- Do you have a nightshirt?

- No.

My wife has a nightgown.

Let me borrow your nightgown.

- (CHUCKLES)

- Why not?

(CHILDREN SINGING)

# Twinkle, twinkle, little star

# How I wonder where you are

# Up above the world so high

# Like a diamond in the sky #

(CHILDREN CONTINUE SINGING IN SPANISH)

ROLANDO:
Good, Pascal.

(CLASSICAL MUSIC)

(FLY BUZZING)

There are no flies on me.

Those flies again. Are they still Russian flies?

They are preparing themselves, getting ready,

assembling to devour my putrefying flesh.

Flies and maggots.

I 'm familiar with maggots,

Battleship Potemkin maggots.

- Knock, knock, who's there?

- Only Death.

(SIGHS)

Death is so close here in the hot sun.

He's tapping me on the shoulder.

In Russia, we hide Death away.

Make him a distant villain.

Here, Death is very close,

and a friendly hero.

She greets us at the cemetery gate

and walks with us politely.

We walk with Death in the cemetery

under the same parasol.

We benefit from the same shadow.

Better that Death is a friend,

not a stranger.

Lenin is dead.

So is Karl Marx.

Both died in their beds.

Jesus Christ is dead. He was crucified.

And Saint Peter,

he was crucified upside down.

And Corts and Pizarro

and Torquemada is dead.

Moctezuma is dead.

And George Washington is dead.

And Abraham Lincoln is dead. He was shot.

(GUNSHOT)

Pancho Villa is dead. He was shot.

(GUNSHOT)

And Zapata is dead. He was shot.

(GUNSHOT)

And Benito Pablo Jurez is dead.

Miguel Hidalgo, he is dead. He was shot.

(GUNSHOT)

I once played Leonardo da Vinci

dying in the arms of Francois I at Amboise.

Eisenstein will die...

Like Leonardo.

I'm not so sure

that filmmakers will be remembered.

We have made a procession

of the mighty dead.

Aren't you surprised that we spend

so much time making people die in films?

All actors, sooner or later,

and sooner rather than later,

in theatres and cinemas around the world

are asked to f*** or die.

Hamlet, Othello, Macbeth,

Juliet, Madame Butterfly,

Joan of Arc, Yevgeniy Onegin,

Cleopatra, Julius Caesar,

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Peter Greenaway

Peter Greenaway, CBE (born 5 April 1942 in Newport, Wales) is a British film director, screenwriter, and artist. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. Common traits in his film are the scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death. more…

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Submitted on August 05, 2018

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