Eisenstein in Guanajuato Page #11

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
132 Views


(GRUNTS)

If the original Americans came that way,

they must have travelled

originally from Siberia,

which means all Americans,

and that also means all Mexicans,

- were once upon a time Russians.

- (BREATHING HEAVILY)

And now, Sergei,

I want to enjoy your virginal Russian arse.

(GRUNTING)

(BREATHING HEAVILY)

(GRUNTING)

At 2:
00,

on the 26th of October, 1917,

the Russian Revolution was over.

The Winter Palace had been taken.

I was 19.

Congratulations, Eisenstein, on a revolution.

14 years ago, Russia lost its virginity.

I was 14 years too late.

(ORCHESTRA PLAYING BOMBASTIC MUSIC)

(THUNDER RUMBLING)

(MOANING)

(CHUCKLES)

(THUNDER CRACKING)

(BOTH SCREAMING)

(PROJECTOR RATTLING)

Sergei, there has been a mudslide

to the south of the city,

the heavy rains last night.

There are many dead, many injured.

We should go there

and film a natural Mexican disaster.

Is there such a thing?

Aren't all disasters natural?

Hey, come on, get your clothes on.

It's not time for idle philosophy.

Hey, come and help.

Come and tell us how we should film it.

No, you do it. You know what to do.

I'm not so good with reality.

I'm going back to bed.

TISSE:
We have the car outside.

We can be there in 20 minutes

if the roads are not washed away.

The local people will not like

you seeing them distressed.

You are vultures. You will not be popular.

Sergei, we can record it,

show what happened.

You go, I'll come later.

(INDISTINCT CHATTER)

(THUNDER RUMBLING)

(PEOPLE CRYING)

(CAMERA SHUTTER CLICKING)

(SPEAKING SPANISH)

(INDISTINCT CHATTER)

Having children of my own

has just not occurred to me as a possibility.

Is that strange?

No.

It seems to be so very, very far

from what I have ever thought.

You really do have to have

the thought in your head,

and I never have.

You need to find the desire.

And the desire needs to be consummated.

We stake a claim to be human

by continuing the inexorable chain

on and on and on,

generation after generation,

father, son, and grandson,

which means we simply are

in a hopeless relay race,

permitted to hold the baton

for a few yards of hectic running,

with me thinking and feeling all the time

that I will default,

that I will drop the baton

and disgrace myself

and the team of an extended family

and, not least, betray the woman

who is bearing the child

at my request

and who is far more exhausted than me.

So better not to enter the race,

humiliate myself,

and embarrass all around me.

- (THUNDER CRACKS)

- PALOMINO:
No, no fotos.

Caedo? Caedo, help me!

This baby is bleeding.

I thought she was peeing down

my leg, but it's blood.

Look! Help me.

I could not face a child

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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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