The septuagenarian director of the experimentation Peter Greenaway, always moved by the epic that Sergei Eisenstein embodied throughout his entire filmography, — in the mythical sequence of the stairs of Odessa (1925) to mention an example — he imagined that world that The Soviet filmmaker must have found his arrival in Mexico between 1930 and 1932. This inventiveness led him to lead in 2015 Eisenstein in Guanajuato (2015), film number 68 of the British director centered at the particular moment of the life of the director of October in which he glimpsed the unfinished tape that Viva Mexico!
As he commented in some interviews, the director was captivated by Eisenstein to know his work in the early Sixties when he was still a student. Greenaway has asserted bluntly, as he often elucidates about cinema, that the assembly theory developed by Eisenstein is the only omnipotent legacy that prevails in the seventh art to 122 years of breakthrough in the world.
However, Eisenstein in Guanajuato does not have the same rigor as other titles of Greenaway in which forged his clamor and taste in front of the Mexican audience, as would be the case of the Book of Bedside (1996) or the Cook, the thief, his wife and his mistress (1989). Which puts us in front of a well-intentioned letter but, say, far from the richness that this homage to one of the most important filmmakers of all time should express.
At 25, Sergei Eisenstein put an end to his theatrical career and severely questioned the artificial within the theater, according to his own words, "the car broke into pieces and the driver fell headlong into the cinema." This maxim expresses how the director came to the environment where he would find prestige and an excellent way to express his deepest concerns.
For Eisenstein the edition was not only a method to link scenes, but an effect to catalyze the emotions of the public, their narratives avoided individualism and on the contrary were directed to broader issues of society, especially the conflict of classes. In this way it is curious that the allegory posed by Greenaway does not cover the full indications of its predecessor, even though it was its highest purpose.
The battleship Potemkin (1925), October (1928), Alexandar Nevsky (1938) and the two volumes of Ivan the Terrible (1944 and 1958), accompany the premiere of Eisenstein in Guanajuato in FilminLatino and offer the possibility of engaging in a dialogue of Director to Director, of which the Spectator will be able to obtain his own conclusions.
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