Que Viva Mexico

1979 reconstruction of Eisenstein's 1931 footage from Mexico, on a thin line between documentary (actors at a minimum) and fiction (rehearsed/ cut scenes)
impossible to really know how Eisenstein would have cut it, must take it as is
more axial cutting, among the geometric shapes
longer shots, an almost lazy rythm. If Eisenstein has come from a non-ideological film industry
shots themselves have that kind of paradiscal warmth, lazy rythms
high contrasts/ differences in the increasingly wider frames
though of course we're still largely working on heroic close-ups and so on
extensive use of deep-framings, deep focus
especially as this is combined with outsized heads, Welles clearly took this look. Remarkable similarities of the Wellesian style and some shots here, though dwelled on a little less in this case
Eisenstein was here entering perhaps his most 'psychological' so far
really internal portrait here, every shot is filled with almost Freudian import
bizarre series of cagings, of uneven colour mixes
Eisenstein as always interested in the spectacle/ circus (attractions, of course), but continues here to the kind of psychological excess, not comprehensible
focus on masks and the carnival, the uncontrolled. Eisenstein seems to at once hate it, want to dismiss it, but it rather lingers on
genuinely uncanny use of masks; always surprise (even to Eisenstein) what is behind them. How can he ever find out what is behind them? What if what one does find destroys ones entire world?
This is pure, masterly filmmaking in simple plot terms as well; a fine story, always a joy to watch, with strong excitment at the end (Leone stole most of the visual tricks)
a fine work, wonderfully shot and told. Superior than expected. Due to the location and style, not really comparable directly with Eisenstein's other work, but certainly stands as at least an equal