Eisenstein in Guanajuato Page #8

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
130 Views


is a sort of exhibitionism.

You are vain about your ugliness.

I have a coward's bravery.

Short arms, big head,

big feet.

I have the correct physiognomy for a clown.

(CHUCKLES)

No woman could ever take

a delight in my body.

Why not? Clowns are loved by women.

Their helpless foolishness is appealing.

Is that really the problem, do you think?

That you have believed that no woman

could approve of your body?

Or your prick?

So you have denied them.

I have a prick only fit for peeing.

(LAUGHING)

That could be very usefully true.

But it cannot be all.

Make it rise.

(CHUCKLES)

You see? It takes on a brand-new life.

Respect it.

(BREATHES DEEPLY, GROANS)

I am not going to deny myself sleep any more.

We will discuss your prick later

when we wake up.

Now take a shower and lay down.

Mmm.

I am already falling over the cliff

into the abyss of sleep.

This is really the way to fall into this.

Delightful.

Guiltless.

Unfatigued.

This way, you will not dream.

I never dream during a siesta.

(LINE TRILLING)

Pera? Pera?

Is that you?

- PERA:
(ON PHONE) What's that noise?

- I'm in the shower.

Water. Warm rain.

I am in Guanajuato,

and there is a man in my bed.

- What is he doing there?

- Sleeping.

It's early afternoon. Siesta time.

We should learn to take siestas in Moscow.

What are you doing?

What should I be doing here in Moscow?

Nothing much, writing invoices,

typing scripts for the publisher,

being your secretary,

looking after your interests

whilst you're away,

refusing chocolates and visits

to the cinema from Boris.

Pera, why don't you drop everything

and come to Mexico

and rescue me from men

falling asleep in my bed?

I could never get a visa.

And there is no money for foreign visits.

We have shot over 70 miles of film, 20 hours.

I have a lot of ideas,

though they keep changing.

Usual stuff. It's gonna be a great film.

People here are saying you won't come back.

Of course I'm coming back.

Sergei, be careful.

Don't get mad at me,

but your American experience

could act against you.

They've stopped paying your mother.

Don't worry, I'm getting

something through to her,

though she continues to be very rude

and condescending to me,

the b*tch.

Sorry.

You know there is no love lost between us.

His name is Caedo.

- Whose name?

- (METALLIC CLANGING)

The man in my bed. He's my guide.

And what else is he to you?

He's an instructor

of comparative religion.

Since when have you needed

instruction in religion?

We talk about Mexico and death.

He's my guide to the Underworld.

(INDISTINCT CHATTER)

Pera? Pera? Are you still there?

The line is very bad.

I hear all sorts of noises,

like someone banging a hammer on metal.

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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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