Eisenstein in Guanajuato Page #7

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


Savonarola, Helen of Troy,

Ivan the Terrible...

We give you licence to show us

people f***ing and dying,

and we know they are not.

And you know they are not.

And we know that you know

that we know they are not.

It's all to prove we are alive twice over.

First as an affirmation

and then as a challenge

to Death itself.

The willing and very necessary

suspension of disbelief.

In modern-day Russia,

Death comes drunk in a crumpled

dark-grey suit with no underwear

because no one has money

for vests and underpants in Russia.

He wears a second-hand grubby white shirt

with no collar and dirty cuffs.

Death in Russia

is a shabby meeting at life's end.

Here in Mexico,

Death comes bright-eyed

and laughing, totally sober,

beginning his greatest adventure,

kissing the air.

His head, his heart,

and his cock held high.

Sex and death, the two non-negotiables.

Eros and Thanatos.

We are never aware of our own conception.

Can we really be a witness to our own death?

You have introduced yourself

to Death in Mxico.

Indeed, you seem to me

to have introduced yourself

to Death in Mxico.

Perhaps now you need

to introduce yourself to sex in Mxico?

(LAUGHS)

Well, perhaps now I need to introduce myself

to sex in the world.

(CHUCKLES)

Perhaps, Caedo, you could introduce me

to sex in Mexico and the world?

PALOMINO:
Another subject matter

could be money.

Money?

I am not so sure at all about money.

It has not been around for so very long.

And now so many fools have it

and so many wise men do not.

It cannot be very important.

And money can be so easily subsumed

into death and sex,

if only to delay one and pay for the other.

(CHUCKLES)

Another subject matter could be power.

You will have to go back

to Russia sooner or later.

And in Russia,

you will witness power unlimited.

Every morning there is a flood

of yellow telegrams

pushed under my door.

They want me back in Russia.

Russian power reaches its huge hand

here to me in Mexico.

Can anyone escape it?

PALOMINO:
Now we sleep for one hour.

Enjoy your siesta.

A siesta splits the day in two.

Makes two days out of one.

But really, you must do it properly.

Undress,

and the most important thing of all,

sleep between cool sheets.

No snoozing in your day clothes.

You must be naturally drowsy.

Give in. The best sleep of the day.

Drift away.

Then you go to bed.

(GRUNTS) And pretend you are dead.

(WHISPERS) Silent.

Still.

The best sleep you will know

when you are not dead.

And you are cheating death. (CHUCKLES)

Go on, take your clothes off.

I have a clumsy, unattractive body.

It's not unattractive. I have seen it.

You make it unattractive.

Your belief in your ugliness

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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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