[000:00:00;00] rituals, in these landscapes and so on, what is also important here is this attention to art, yes , here we are talking about ancient art, but around esenstein there is modern mexican art, there are tevangardists, and he communicates, cannot help but communicate, naturally, with david siqueires, with diego riveira, with frida kolo, he revolves in this, he spins in this, he cooks in this, and of course this also feeds him, there were no such people in hollywood, or he didn’t feel it, and he didn’t see it. around them, because they may have been in new york, in mexico everything is closer, everyone knows each other, and he is also present in this, and of course, he doesn’t really want to return, sinclair is already running out of money, here he makes , it seems to me, not a very smart move, he writes to moscow, to the state data, trying to demand money, their royalties for translations of his works, and then the story begins to unfold, when suddenly, well, maybe not suddenly, but at the next moment they remember that

here... the main director, the author of bronyolos potemkin, is wandering around somewhere, he’s in mexico , in mexico, by the way, tratskytyn has to to return without finishing filming, in fact, this composition of several short stories about different states of mexico, let's say, should have ended with a short story about a woman, a soldier, who follows first one revolutionary army, then another, there is sopata, villa, and so on , but as a result, this novella was supposed to be a kind of novella... the image of mexico as a whole, through this woman , called soldadera, she was not filmed, in general, without completing the filming of the film, without editing it in any way, from the einsteins goes to moscow, in moscow he hopes that they will send him the material, because in general , he assumed, here in general they don’t mind that they will send it to him, he will edit it in moscow, then the rights will be inside the iron curtain, inside

the soviet union, the rights to distribute the film... will be held by soviet official government agencies, and throughout the rest of the world, where there is great interest in ezenstein’s work and there is commercial potential, sinclair will have the rights and thus he will return to himself - the money that he invested, that he collected , but singler does not believe and does not agree to send the material and decides to return the money by rolling pieces of this material. in america, giving it to other editors, at the beginning of the thirties two full-length short films were created, at the end of the thirties a whole series of short films, although in the late thirties, such a journalist, a lady near kinina, mary sitton, would make her own version, in general, well, at least she at least somehow knew about isenshtein’s plan, so her option, in general, the editing one is not the worst, that is, if you were independent in the thirties or semi-independent director, could you

afford it? buy a few frames from einstein and mount something there ourselves, but the easiest thing, of course, was to use and that short story where the plot was worked out was suggested by magege, yes, here we have it, we can also look, we

forgot about maria. an inexperienced girl does not know what fate awaits her, in fact, the tragedy is that everyone could edit this, except for izinstein, it was such a system, they film it, they send it to los angeles, there is a person in the laboratory who tise trusts, the russian, who shows this as necessary, sends them the material, they see it all, but can do nothing with it, ezenstein saw almost all the material, but could not sponsor anything being in mexico before returning, he looked a little more in new york and even showed one of the ladies the rockefeller family, by the way, and wrote it down in his diary, but then he goes to the soviet union, absolutely expecting that the film will follow him and that he will finish it, for the man who made previous films

created in the editing room, not finished... it almost physical pain, and we know about this from his memoirs, and from the people with whom he later communicated, or he writes in his diary, he just arrived, it’s spring. summer of thirty-two, he writes down the nyuniks, shklovsky talked about how he shot himself, and mayakovsky, it was back in the thirties, yes, but he somehow missed it, they only told him in letters, mayakovsky shot himself because he called on the phone, he wanted talk to someone, no one answered, it seems - esenstein writes down, then he writes, a pregnant cat is dying in the kitchen, she cannot give birth to kittens, it seems, in general, for him, this is a trauma... it was not resolved in any way, since until the end of his life he was never able to gain access to this material at the end of his life, he, by the way, outlined it in 1947 he wrote how the film could be structured, given that the last short story was not filmed, how

to structure it differently, and in the fifties there was no longer a zhivochenstein in america, the museum of modern art in new york, jay leida , a man who started out as a director, avant-garde artist in america who came to the soviet union. learned from isenstein and returned to the usa , there he propagated soviet culture, not so much even propagandized as he studied it - in a serious sense, that is, he popularized it and - wrote books about soviet cinema, and he just collects uh all the material, he enters the museum of solitary art in new york, and leida builds something like what we would now call a presentation, that is, individual frames with explanations of what kind of frame it is, but for about eight hours, well, less after all. and he comes - in the late fifties to the soviet union, there was already a thaw, so he can come, and he shows the movie in the house on vgik, with his comments, everyone understands that this is not a legend, that

the film was made, and what needs to be done with to do something with this, in general, after this negotiations begin, and the museum of modern art in new york makes a copy for itself and leaves it, and the original, uh, the negative itself is transferred to the soviet union, where, alexandrov, the only one moment the surviving member of the film crew tise died ten years earlier in the seventies, aleksandrov edited his version, in general , of course, maybe this is not an ideal reconstruction, but at least he himself appears in the frame, and this is such a comment, on the one hand, it seems alexandrov’s memory of the trip, on the other hand, and his story about the film, by the way, we can look at the already elderly alexandrov. actually, yes, of course, this is how

grigory vasilvich’s fate turned out, he started with esenstein, with ezenstein he ended his creative work, but it seems to me that jade's name also needs to be mentioned, because he goes through this story very interestingly, in fact, he is in new york, but then he listened to esenstein's lecture in america and realized that he needed to study with esenstein. esenstein went to mexico, returned to moscow, and leida arrived there and entered that workshop, which actually became the main one for esenstein. and with the help of teaching, he basically came out of this drama, even the tragedy with mexico, we have a memory of the same leida, how he was such a boy who came from a completely different culture, says mikhailov. why are you still teaching, don’t you make a new film? according to him, later, isenstein grabbed his stomach and said, how can i give life to a new film if i have not yet given birth to the previous one, and leida writes down what a fool i was that i even reminded him of this, and for leida this

there was also such a living connection, yes, and he completed a course with the master, but he did not stay in the soviet union, did not become a director, he returned and then not only accumulated information there, he translated texts from... to english, he was the person who published esenstein’s first book, what esenstein wanted to do for so long, he even went to europe with a draft of the book, he wanted to publish it even then in twenty, but it didn’t work out, it didn’t work out, it didn’t work out, a new book, a ninth, and a new movie, in general, it’s very interesting that this image that he brought up in a conversation with leida, it’s so very biological in a sense, and this is a biological beginning in... which is also very important, because isenshtein opened in mexico, in many ways, his first short story was supposed to be dedicated to just such a natural sense of self of a person, in general it must be said that the optimistic, the only thing in the situation with the material

is that he lives and from him many people later edited different ones, there may be options, for example, in 1998 oleg kovalov edited the film by sergei senshtein mexican fantasy, this is his own interpretation of this material. there may be other interpretations, in fact, since now in digital culture it’s all much simpler, another thing is that here, of course, it is important how a person approaches this, because there may be some distortions, in general , quite ridiculous, and we know how one of the filmmakers, turning to this story, could turn it inside out . another thing is that this material, as a result, exists in this way, like a film from einstein, exactly the material, these frames that we see, they move from film to film, like quotes, like quotes from poetry, in general, in arise in one place, in another place arise, and as certain aphorisms, and - one way or another we can get acquainted with

them from alexandrov’s assembly, from the editing version of oleg kovalov, from the film that mary sitton once made in america in the late thirties, and finally from this one presentation by jay leidy, in general, in its various guises this film continues to live, but it seems to me that it is also important that esenstein was inspired to write more by this foreign trip, he began to work more with texts, and here - not only his important theoretical book, the method, was born, which is, in general, as basic as he himself defined it, and such a wealth of problems, that is, the support that for his theory, yes, on the other hand, when at the end of his life he will write his memoirs , simply a wonderful literary work, which, i think, our viewers, if anyone has not read, will read with pleasure, and this book is not structured like an ordinary memoir. where a person describes his life sequentially, it is

devoted to only two periods: childhood, when he accumulated impressions in general, such a history of accumulation of impressions is the story of how a person learned to think in images, while it is told absolutely vividly and laconically in short individual phrases, on the other hand, a foreign trip, the second period of accumulation, it turns out that in fact we are uzenshtein we can take not only from the finished study of him according to the finished, but also from what he just conceived, from what he outlined, when they say , that’s actually why everyone was rushing around isenshtein so much, what he was so i wonder why everyone was jumping around him, why he was invited everywhere, and why he is so important, why he is so important now, what he taught us, yes, it is very difficult to answer, because well, editing, they edited before him, they edited after him, yes he he showed very important editing techniques, but this is not the only thing, yes, he talked about sound, yes, he looked at color, yes, he spoke about culture, how different layers

of consciousness are combined there, but he is something like newton, who came up with, not came up with, expressed, yes, expressed, there is gravity, there is - the law of universal gravitation, and we simply continue to exist physically in this world, we just don’t think, oh, newton came up with it , why is this important, he just set the parameters in which we are really present, for me esenstein is like that a person who so reassembled cinematography, then how we understand a work of art, then how we create it, if we say, we talk about why watch the film viva mexico now, then my answer would be in order to understand , but how something is created, yes, how it is may not be fully created, how can it then exist on its own, as in this journey we see, well, we see mexico , let’s say, yes, we see not just what it is,

we see it through certain eyes, we see it through the eyes of tisa and through the eyes of esenstein, when the film had not yet been edited, when people saw other people’s edited versions, they said, but it ’s all the same, we understand that this is an einstein, because we see how the shots are constructed, it can’t be anyone else , the work is the same, it manifests itself no matter how it is mounted. and we see the world through the eyes of these people, and we can, at this stage and a half-finished film edited later, somehow penetrate into the workshop, into the kitchen. this is, in general, just incompleteness, but we know from einstein from texts , from photographs, from memoirs about him, and we know what a living figure he is, and in fact, when we see that this material has not yet been assembled by einstein himself and despite... the fact that it will never be mounted with the matte itself, unfortunately, but nevertheless we

are always present as if next to it, that is, in this way we find ourselves truly involved in his laboratory, in his creative process, and this is probably the most interesting thing in this case, this was the ezenshtein 125 podcast, film historian natalya ryavchikova and film critic artyom sopin, goodbye. on air news on channel one, my name is sherbakov, hello, the key to the well-being of russian families and increasing their incomes is the development of regional economies, vladimir putin said at a meeting with elected regional heads, it was held via videoconference in connection with the president,

heads of 26 subjects, including lpr,