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poster

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7.4

/79/

10

/1/

70

/1/

"Eisenstein journeyed to Mexico in late 1930 to begin shooting a film. With backing provided by Upton and Mary Craig Sinclair, the great Soviet auteur planned to make an epoch-spanning pageant of Mexico’s political history and cultural iconography, moving from the pre-Columbian era through colonization and, finally, revolution ... with the project running over budget the film was shut down. Sinclair eventually deposited the film materials at MoMA in 1953, at which point the scholar Jay Leyda assembled and annotated the shots, ordering them according to the filmmaker’s plans and presenting the images just as they had been shot, unedited ... here one is given the opportunity to attend to Eisenstein in an entirely different way, and aspects that might otherwise be overshadowed come to the fore: the way he works with nonprofessional actors, for example, or the striking mise-en-scène." - MoMA

poster

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Compiled by The Museum of Modern Art Film Library in 1938, the film is a glimpse of the early 20th century’s finest stage performers— Gabrielle Réjane, Eleonora Duse, Sarah Bernhardt, and Minnie Maddern Fiske. The compliation contains excerpts from four films, adapted from four timeless stories: Madame Sans-Gêne (1911), Cenere (1916), La Dame aux Camélias (1912), and Vanity Fair (1915).

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