Eisenstein in Guanajuato

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.
Rotten Tomatoes:
105 min

all on its very own.

So like bug-eyed cultural tourists,

we went through Europe,

looking, seeing, shaking hands.

Although it was more like

shaking hands and looking.

I had eyes in my hands,

and they never stopped shaking.

We met George Grosz and Man Ray

and Dos Passes.

Oh, Kthe Kollwitz.

She had at least half a way

for social conscience,

though her droopy face and sagging breasts

were overplayed as a sort of trademark.

And Le Corbusier,

who said I reminded him of Donatello.

All architects love cinema.

We met Lger and Cocteau

and Marinetti, who was a fool.

Terrible poetry, worse painting.

Oh, we met James Joyce,

who sat through Battleship Potemkin

in his dark blind glasses.

I imagine he did not see a thing.

We met Abel Gance and Buuel.

And Al Jolson, the blacked-up

singing son of a Russian rabbi.

- This one.


We saw Dal's Le Chien Andalou

and Dreyer's Joan of Arc.

I went to Holland, where a crowd of reporters

met me at Rotterdam airport.

They were all very excited.

They had come expecting to meet Einstein.


We had von Sternberg in Babelsberg.

And he was shooting The Blue Angel

with Marlene Dietrich.


We were all the time

being watched and followed

by two Russian agents.

One looked like Fatty Arbuckle

and the other one looked like Buster Keaton.

One was rosy and laughing

and always fingering his backside,

the other solemn and sad,

as though he had wet his trousers.


Dorothy Gish and her sister

wanted me to make a film,

but sentimental melodrama is not my hat.

Too much gushing and gishing, no irony.

I sent them to Pudovkin.

He is good at tears and whey.

He said, "If I was no good

at treating American ladies well,

"I was nothing. What are you?" he said.

I replied, "I am a scientific dilettante

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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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