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Sergei Eisenstein

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Sergei Eisenstein Sergei Eisenstein Sergei Mikhailovich Eisenstein (/ˈaɪzənˌstaɪn/;[1] a mother of Swedish descent,[2][3] and his mother, Ju- Russian: Сергей Михайлович Эйзенштейн; IPA: lia Ivanovna Konetskaya, was from a Russian Orthodox [sʲɪrˈɡʲej mʲɪˈxajləvʲɪtɕ ɪjzʲɪnˈʂtʲejn]; 22 January 1898 – family.[4] His father was an architect and his mother was 11 February 1948) was a Soviet Russian film director the daughter of a prosperous merchant.[5] Julia left Riga and film theorist, a pioneer in the theory and practice of the same year as the Russian Revolution of 1905, bring- montage. He is noted in particular for his silent films ing Sergei with her to St. Petersburg.[6] Her son would Strike (1925), Battleship Potemkin (1925) and October return at times to see his father, who joined them around (1928), as well as the historical epics Alexander Nevsky 1910.[7] Divorce followed and Julia left the family to live (1938) and Ivan the Terrible (1944, 1958). in France.[8] Eisenstein was raised as an Orthodox Chris- tian, but became an atheist later on.[9][10] At the Petrograd Institute of Civil Engineering, Sergei 1 Life and career studied architecture and engineering, the profession of his father.[11] In 1918 Sergei left school and joined the 1.1 Early years Red Army to serve the Bolshevik Revolution, although his father Mikhail supported the opposite side.[12] This brought his father to Germany after the defeat of the Tsarist government, and Sergei to Petrograd, Vologda, and Dvinsk.[13] In 1920, Sergei was transferred to a command position in Minsk, after success providing propaganda for the October Revolution. At this time, he was exposed to Kabuki theatre and studied Japanese, learning some 300 kanji characters, which he cited as an influence on his pictorial development.[14][15] These stud- ies would lead him to travel to Japan. 1.2 From theatre to cinema Young Sergei with his parents Mikhail and Julia Eisenstein. With Japanese kabuki actor Sadanji Ichikawa II, Moscow, 1928 Eisenstein was born to a middle-class family in Riga, Latvia (then part of the Russian Empire in the In 1920 Eisenstein moved to Moscow, and began his Governorate of Livonia) but his family moved frequently career in theatre working for Proletkult.[16] His produc- in his early years, as Eisenstein continued to do through- tions there were entitled Gas Masks, Listen Moscow, and out his life. His father, Mikhail Osipovich Eisenstein Wiseman.[17] Eisenstein would then work as a designer was born to a German Jewish father, Osip Eisenstein and for Vsevolod Meyerhold.[18] In 1923 Eisenstein began his 1 2 1 LIFE AND CAREER career as a theorist,[19] by writing The Montage of At- disliked it completely and, additionally, found them- tractions for LEF.[20] Eisenstein’s first film, Glumov’s Di- selves intimidated by Major Frank Pease,[30] president ary (for the theatre production Wiseman), was also made of the Hollywood Technical Director’s Institute. Pease, in that same year with Dziga Vertov hired initially as an an anti-communist, mounted a public campaign against “instructor.”[21][22] Eisenstein. On October 23, 1930, by “mutual consent,” Strike (1925) was Eisenstein’s first full-length feature film. Paramount and Eisenstein declared their contract null and void, and the Eisenstein party were treated to return tick- The Battleship Potemkin (1925) was acclaimed critically [31] worldwide. It was mostly his international critical renown ets to Moscow at Paramount’s expense. which enabled Eisenstein to direct October (aka Ten Days Eisenstein was thus faced with returning home a failure. That Shook The World) as part of a grand tenth anniver- The Soviet film industry was solving the sound-film is- sary celebration of the October Revolution of 1917, and sue without him and his films, techniques, and theories then The General Line (aka Old and New). The critics were becoming increasingly attacked as 'ideological fail- of the outside world praised them, but at home, Eisen- ures’ and prime examples of formalism. Many of his the- stein’s focus in these films on structural issues such as oretical articles from this period, such as Eisenstein on camera angles, crowd movements, and montage brought Disney, have surfaced decades later as seminal scholarly him and like-minded others, such as Vsevolod Pudovkin texts used as curriculum in film schools around the world. and Alexander Dovzhenko, under fire from the Soviet Eisenstein and his entourage spent considerable time with film community, forcing him to issue public articles of Charlie Chaplin,[32] who recommended that Eisenstein self-criticism and commitments to reform his cinematic meet with a sympathetic benefactor in the person of visions to conform to the increasingly specific doctrines American socialist author Upton Sinclair.[33] Sinclair’s of socialist realism. works had been accepted by and were widely read in the USSR, and were known to Eisenstein. The two had mu- 1.3 Travels to Europe tual admiration and between the end of October 1930 and Thanksgiving of that year, Sinclair had secured an exten- sion of Eisenstein’s absences from the USSR, and permis- In the autumn of 1928, with October still under fire in sion for him to travel to Mexico. The trip to Mexico was many Soviet quarters, Eisenstein left the Soviet Union for Eisenstein to make a film produced by Sinclair and his for a tour of Europe, accompanied by his perennial film wife, Mary Craig Kimbrough Sinclair, and three other in- collaborator Grigori Aleksandrov and cinematographer vestors organized as the “Mexican Film Trust”.[34] Eduard Tisse. Officially, the trip was supposed to allow Eisenstein and company to learn about sound motion pic- tures and to present the famous Soviet artists in person to the capitalist West. For Eisenstein, however, it was 1.5 Mexican odyssey also an opportunity to see landscapes and cultures outside those found within the Soviet Union. He spent the next On November 24, 1930, Eisenstein signed a contract two years touring and lecturing in Berlin, Zurich, Lon- with the Trust “upon the basis of his desire to be free don, and Paris.[23] In 1929, in Switzerland, Eisenstein su- to direct the making of a picture according to his own pervised an educational documentary about abortion di- ideas of what a Mexican picture should be, and in full rected by Tissé entitled Frauennot - Frauenglück.[24] faith in Eisenstein’s artistic integrity.”[35] The contract also stipulated that the film would be “non-political,” that immediately available funding came from Mary Sinclair 1.4 American projects in an amount of “not less than Twenty-Five Thousand Dollars,”[36] that the shooting schedule amounted to “a In late April 1930, Jesse L. Lasky, on behalf of period of from three to four months,”[36] and most im- Paramount Pictures, offered Eisenstein the opportu- portantly that “Eisenstein furthermore agrees that all pic- nity to make a film in the United States.[25] He ac- tures made or directed by him in Mexico, all negative cepted a short-term contract for $100,000 and arrived in film and positive prints, and all story and ideas embod- Hollywood in May 1930. ied in said Mexican picture, will be the property of Mrs. [36] Eisenstein proposed a biography of munitions tycoon Sir Sinclair...” A codicil to the contract allowed that the “Soviet Government may have the [finished] film free for Basil Zaharoff and a film version of Arms and the Man by [37] George Bernard Shaw, and more fully developed plans showing inside the U.S.S.R.” Reportedly, it was ver- for a film of Sutter’s Gold by Jack London,[26] but on bally clarified that the expectation was for a finished film all accounts failed to impress the studio’s producers.[27] of about an hour’s duration. Paramount then proposed a movie version of Theodore By 4 December, Eisenstein was en route to Mexico by Dreiser's An American Tragedy.[28] This excited Eisen- train, accompanied by Aleksandrov and Tisse. Later he stein, who had read and liked the work, and had met produced a brief synopsis of the six-part film which would Dreiser at one time in Moscow. Eisenstein completed a come, in one form or another, to be the final plan Eisen- script by the start of October 1930,[29] but Paramount stein would settle on for his project. The title for the 1.6 Return to Soviet Union 3 project, ¡Que viva México!, was decided on some time 1.6 Return to Soviet Union later still. While in Mexico Eisenstein mixed socially with Frida Kahlo and Diego Rivera. Eisenstein admired these artists and Mexican culture in general, and they in- spired Eisenstein to call his films “moving frescoes”.[38] The Left U.S. film community eagerly followed Eisen- stein’s progress within Mexico as is chronicled within Chris Robe’s book Left of Hollywood: Cinema, Mod- ernism, and the Emergence of U.S. Radical Film Cut- lure.[39] After a prolonged absence, Stalin sent a telegram ex- pressing the concern that Eisenstein had become a deserter.[40] Under pressure, Eisenstein blamed Mary Sinclair’s younger brother, Hunter Kimbrough, who had been sent along to act as a line producer, for the film’s problems.[41] Eisenstein hoped to pressure the Sinclairs to insinuate themselves between him and Stalin, so Eisen- stein could finish the film in his own way. The furi- ous Sinclairs shut down production and ordered Kim- brough to return to the United States with the remain- ing film footage and the three Soviets to see what they could do with the film already shot, estimates ranging from 170,000 lineal feet with Soldadera unfilmed,[42] to an excess of 250,000 lineal feet.[43] For the unfinished filming of the “novel” of Soldadera, without incurring any cost, Eisenstein had secured 500 Eisenstein c.
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