Eisenstein in Guanajuato Page #9

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


A spanner on a radiator.

No, that's here, upstairs or somewhere.

Sergei, think of yourself.

Think of coming back soon.

They are starting to ask even little me

all sorts of questions, like,

"What do the Americans think of Sergei?"

Using your first name,

suggesting we are intimate.

I'm not with Americans any more.

I'm with Mexicans,

an entirely different race of people.

Pera? Pera? Pera, are you there?

- You are a long way off.

- (CHUCKLES)

You're right. I'm in Mexico.

(DISTANT BANGING)

(BANGING PIPES)

It is 9:
45,

a quarter to 10:
00 on the 25th October.

The official time we stormed

the Winter Palace.

14 years to the minute

when the Revolution began.

Ten days that shook the world.

Except we have now changed calendars,

and it's all happening in November.

And anyway, if it's 9:45 here in Mexico,

it can't be 9:
45 in Moscow.

The anniversary was over ten hours ago.

We missed it.

Then Eisenstein did it all over again.

He recreated the Russian Revolution

all over again on film.

Though much bigger and much better

than the first time round.

- (CHUCKLES)

- And twice as expensive.

With Eisenstein's version,

the street cleaners complained.

They took three days

cleaning up the broken glass.

"The first time around," they said,

"People were more considerate.

"They made far less mess."

ALEKSANDROV:

They thought the first revolution

was, was better choreographed.

They thought Eisenstein's version

wasn't worth filming.

It was a waste of film, they said.

TISSE:
With Eisenstein, there were

much more windows broken,

more statues chipped by ricocheting bullets,

and much more noise.

The original revolution had apparently been

a fairly quiet affair,

with no swearing and no bad language.

(ORCHESTRA PLAYING)

(GUNS FIRING)

Eisenstein is very equivocal about women.

And he really is a vulgar, fat little chap.

Any opportunity to pass on obscenity,

he will fart it through.

Sublimated sexual frustration.

He can be very crude about women.

He can't do the sex, so he'll talk it.

Come on, let's take the young woman home.

(CHANTING)

(ALL CHANTING)

A present,

so you can celebrate your Russian Revolution

far from home.

Congratulations, Mr Russian Film Director.

(CHUCKLES) Thank you.

I will wave it and remember.

(CHANTING CONTINUES)

(THUNDER CRACKING)

(DISTANT BELL TOLLING)

(DISTANT THUNDER RUMBLES)

Turn around.

(DISTANT THUNDER RUMBLES)

Initiation ceremony.

Formal initiation into life

was essential for the Aztecs,

a full ritual.

You have left it a little late, Sergei.

But doesn't matter. Better late than never.

Better never late.

You are far from home

and off your home initiation ground.

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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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