, in general, without completing the filming of the film in any way... without editing anyone , isenshteinhopes that they will send him material, because in general, he assumed, here in in general, i don’t mind what they send to him, he’s in moscow edit, then the rights will be inside the iron curtain, inside the soviet union, the rights to distribute the film will be with 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, the rights will be with sinclair and he will thus get back 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 another editor, at the beginning in the thirties, two full-length short films were created, and in the late thirties, a whole series of short films, although in the late thirties, such a journalist, near kinin, lady mriri seaton, would make her version, in general , well, at least she at least some

are going, very different, and one of them immediately feels a little disadvantaged, moreover, isenshteined for special children. and french, and this is not his first trip, yes, he knows languages, he knows people who come to moscow, theodore dreiser comes to moscow, and of course goes to visit isenstein, get to know him, and in the fall of twenty-nine, in turn, isenstein and his group come to europe, why, because in the soviet union it was impossible to obtain an american visa, because only in the thirty-third year the united states recognized the soviet union, and in order to obtain an american visa, it was necessary to go to berlin, where there was... an opportunity. and after berlin they travel around europe for some time, waiting for the opportunity to get to america , they make a living by giving lectures, making films, in particular in the thirtieth year, just in the spring, they received an offer to direct a film, a sentimental romance, this is a small short film, which, in general , was ordered for them by a large businessman so that his wife could be filmed there. and isenstein

, to get to know him, and in the fall of the 29th, in turn, isenshtein comes with his group to europeere was the closest opportunity, and after berlin they travel around europe for some time, waiting for the opportunity to get to america, they make a living by giving lectures, making films, in particular in the thirtieth year, just in the spring, they receive an offer to direct the film sentimental romance, this is a small short film. which, in general, one large businessman ordered them to film his wife, and isenshtein, of course, jumped at it, because they could just try it with sound, by the way, we have the opportunity to watch it, a wonderful woman, mara gris, not a wife, by the way, she was actually a mistress, they just got married later, no, this is important , it seems to me, because in general this whole company, party, yes, how do we get income, where does it come from, they apparently agreed that they left, then they are practically without money, alexander then said they were given 25 dollars each, and what they are paid... business trip allowances in moscow go to their f

during these 3 years, isenshtein managed to catch many phenomena that by the end of the twenties weresoviet union in subsequent years, he nevertheless met in the foreign press or in the domestic press, meeting certain names mentioned, he said, and i said this i already know, i’ve already seen it and here it is, how it’s developing now, and it was back in ’30, ’31, it was an absolutely turning point, because izinstein was invited to hollywood, invited to hollywood in ’27, but he went he's there only in the twenty-ninth, and 29, this is already a completely different world, this is a world on the eve of the collapse of the nyuk stock exchange, this is a world where it is no longer possible to imagine oneself as a silent film, ezenstein maybe also, maybe, silent films are still being made in the soviet union, but all the world is already engaged only in sound cinema, and that’s why he’s coming, to try sound cinema, to see what it looks like , because back in 1928 here in the soviet union, he wrote an article application, or rather, under it there are three names isenshtein , pudovkin and

actually, the tragedy that awaits is that everyone could edit it, except isenshtein, it was such a systemit to los angeles, they have their own man in the laboratory, whom tise trusts, a russian, who shows it, as needed, he sends them the material, they see it all, but they can’t do anything about it, ezenstein saw almost all the material, but couldn’t sponsor anything being in mexi before he, he looked a little more in new york and even showed it. by the way, he wrote this 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 a person who created previous films in the editing room, it’s almost physical pain to not finish it, and we we know about this from memoirs, and from people with whom he later communicated, or he writes in his diary, as soon as he arrived, this... spring, summer of '32, he writes in diaries, shklovsky talked about how shot himself, mayakovsky, this was back in 1930, yes, noshtein seemed to have missed it, they only told him in letters, mayakovsky shot himself because he called on th

does not know what fate awaits her, in fact, the tragedy is that everyone could edit it, except isenshteins their own person in the laboratory, who tise trusts, the russian, who shows it as needed, sends them the material , they see it all, but they can’t do anything about it, einstein saw almost all the material, but not... he looked a little more in new york and he even showed it to one of the ladies of 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 created previous films in the editing room, not finish it, it’s practically physical pain, and we know about this is from... memoirs, yes, from people with whom he later communicated, or he writes in his diary, he had just arrived, it was the spring of summer of 1932, he was writing down nyuniks, shklovsky talked about how he shot himself , and mayakovsky, it was back in the thirties, yes, but yazy seemed to have missed it, they only told him in letters that mayakovsky shot himself because h

push itself away. from the screen and , in fact, this is exactly the topic of our podcast, see isenshteina is not for everyone, yes, but cinema is for everyone, just how cinema becomes such an art that it can attract absolutely any viewer to the screen, even the most unprepared, and this was a podcast of a witness from einstein, where two film historians, me, natalya ryabchikova and my colleague stanislav didinsky, talk about how, by whom, why, classic, unknown, cult, famous, unprecedented soviet films were made, we are trying to help modern viewers watch these films with great interest, with great understanding and with great pleasure, see you again , thank you, see you again on the screen. this is news on channel one, in the dmitry sumskoy studio. hello, russia stands for universal security and lasting peace, built on respect for the interests of everyone, from large states to small countries. vladimir putin stated this at the plenary session of the valdai international discussion club, towards building a fair world order, moscow invites you.

there, because what i’ll do there, i need to earn money, some will be drawn in, some won’t, as isenshtein? he looks like a crazy traffic cop, if the traffic cop has to separate everyone at an intersection so that everyone leaves, the playwright has to push everyone, which means, yes, it’s clear that both sergei in the novel and i in the film, when i wrote the script, there were four versions of the script, we created the situation around the hero in order to bring him to these barricades, the death of a friend and comb through the fact that usually only a few are involved in dramatic events associated with upheavals. in fact, always and even in the events of the ninety- first year, for the most part, ordinary people did not participated, people lived their lives, of course, of course, he says, i want , he says to his wife at the beginning of the film, the task is to survive in the new paradigm, but at the same time i imagine, i imagine you, alexey, at the white house, on tverskaya , put the circumstances a little differently, there was just a certain company there, conversations, listened

why this is important, he just set the parameters in which... we we are really present, for me isenshteineassembled so much cinematography, how we understand a work of art, 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 how something is created, yes, how can it not be fully created, how can it then exist on its own, how on this journey we see, well, we see mexico, let’s say, yes, ethnography, we see not just what it is, we see it through certain eyes, we we see her through the eyes of tise and through the eyes of esenstein, when the film it wasn’t yet edited, when people saw other people’s edited versions, they said, but it’s all the same, we understand that this is ezenstein, because we see how the shots are constructed, it can’t be anyone else, it shows her work. .. no matter how it is edited, we see the world through the eyes of these people, and we can, at this stage, of a half-finished film... edited later, somehow penetrate into the workshop, into the kitchen, this is, in general, just incompleteness , bu