1
00:00:08,160 --> 00:00:11,152
Sovexportfilm presents

2
00:00:11,400 --> 00:00:14,710
''A Mosfilm Production''

3
00:00:24,120 --> 00:00:26,111
SERGEI EISENSTEIN

4
00:00:29,320 --> 00:00:31,436
EDWARD TISSE

5
00:00:34,680 --> 00:00:36,796
GRIGORY ALEXANDROV

6
00:00:44,760 --> 00:00:48,355
QUE VIVA MEXICO!

7
00:01:01,560 --> 00:01:05,997
Mexico, 1931

8
00:01:09,840 --> 00:01:12,513
Sergei Eisenstein,
the film director.

9
00:01:13,520 --> 00:01:17,559
His assistants:
Edward Tisse, cameraman...

10
00:01:18,520 --> 00:01:21,592
and me, Grigory Alexandrov,
director.

11
00:01:24,960 --> 00:01:28,270
How did we land
in this amazing country?

12
00:01:29,480 --> 00:01:32,631
Sergei Eisenstein's films
of the 20's...

13
00:01:33,200 --> 00:01:38,320
especially ''The Battleship Potemkin,''
won him renown.

14
00:01:39,200 --> 00:01:41,714
He, and we along with him...

15
00:01:41,920 --> 00:01:46,232
were invited to Hollywood
to make a film.

16
00:01:47,360 --> 00:01:50,830
But Eisenstein didn't see
eye to eye...

17
00:01:51,080 --> 00:01:53,594
with the Hollywood tycoons.

18
00:01:54,880 --> 00:01:58,668
Helped by Upton Sinclair,
the American writer...

19
00:01:59,320 --> 00:02:02,471
we decided to shoot a film
about Mexico.

20
00:02:03,360 --> 00:02:07,035
But first there was much
we had to learn...

21
00:02:07,680 --> 00:02:10,717
about that country.

22
00:02:11,800 --> 00:02:15,634
The great Mexican painters,
Diego Rivera...

23
00:02:19,280 --> 00:02:20,508
David Siqueiros...

24
00:02:21,440 --> 00:02:22,634
and Jose Orozco...

25
00:02:23,000 --> 00:02:25,833
were our guides and teachers.

26
00:02:29,240 --> 00:02:31,629
We spent two months filming.

27
00:02:32,080 --> 00:02:34,958
We travelled north to south,
east to west...

28
00:02:36,840 --> 00:02:40,276
driving thousands of miles
along rugged roads.

29
00:02:42,440 --> 00:02:45,318
A feature of this land...

30
00:02:45,520 --> 00:02:47,590
struck us as amazing.

31
00:02:48,360 --> 00:02:53,388
A hundred miles meant
the difference between epochs...

32
00:02:54,360 --> 00:02:56,794
separating the pre-Columbian
Mexico...

33
00:02:57,000 --> 00:03:00,356
from that of the time
of the Spanish conquest...

34
00:03:01,920 --> 00:03:03,672
the Mexico of the feudal rule...

35
00:03:04,160 --> 00:03:06,515
from modern Mexico.

36
00:03:09,320 --> 00:03:12,756
Eisenstein felt
that this unusual country...

37
00:03:12,960 --> 00:03:17,954
deserved an unusual film and
that Mexico's tragic story...

38
00:03:18,680 --> 00:03:21,877
could be told
without actors or sets.

39
00:03:25,880 --> 00:03:27,711
A script was written...

40
00:03:28,440 --> 00:03:31,910
and we began making
Que Viva Mexico!

41
00:03:32,720 --> 00:03:35,234
Our filming crew...

42
00:03:35,960 --> 00:03:38,474
consisted of only us three.

43
00:03:39,200 --> 00:03:41,350
But we were young.

44
00:03:41,600 --> 00:03:44,512
We were ready to move mountains.

45
00:03:45,680 --> 00:03:48,194
Even so, we did not manage
to complete shooting

46
00:03:48,400 --> 00:03:49,799
or editing the film.

47
00:03:50,000 --> 00:03:54,118
All our reels of film were held up

48
00:03:55,320 --> 00:03:58,869
in Hollywood, where they
had been developed and printed.

49
00:03:59,240 --> 00:04:03,518
Later they landed in the Museum
of Modern Art in New York.

50
00:04:04,200 --> 00:04:07,192
They were turned over to us

51
00:04:07,400 --> 00:04:09,994
only a short time ago...

52
00:04:10,760 --> 00:04:13,672
after nearly half a century
of negociations.

53
00:04:14,440 --> 00:04:16,829
Eisenstein and Tisse

54
00:04:18,960 --> 00:04:20,439
are no longer with us...

55
00:04:20,640 --> 00:04:22,995
but what they did
belongs to the living.

56
00:04:23,200 --> 00:04:24,792
You will see the film...

57
00:04:25,000 --> 00:04:27,514
as Eisenstein conceived it...

58
00:04:28,000 --> 00:04:32,949
and as we planned it.

59
00:04:33,360 --> 00:04:36,238
We do not know
what the great director...

60
00:04:37,000 --> 00:04:39,514
would have done
with the picture today.

61
00:04:40,400 --> 00:04:42,391
But using his script and drawings,

62
00:04:42,600 --> 00:04:44,670
we have tried...

63
00:04:44,880 --> 00:04:48,270
to get as close as possible
to what he had in mind.

64
00:04:49,320 --> 00:04:53,074
The film was to consist
of several parts...

65
00:04:53,640 --> 00:04:57,349
some close to being documentary
and some acted.

66
00:04:57,920 --> 00:05:00,480
On the whole,
it was intended to be...

67
00:05:00,680 --> 00:05:04,229
a colourful film symphony
of Mexico.

68
00:05:04,880 --> 00:05:08,270
QUE VIVA MEXICO!

69
00:05:13,920 --> 00:05:15,717
''Prologue''

70
00:05:29,720 --> 00:05:31,551
The time in the prologue...

71
00:05:32,760 --> 00:05:34,273
is eternity.

72
00:05:35,360 --> 00:05:37,828
It could all be taking place today...

73
00:05:38,760 --> 00:05:42,435
or have happened 20 years ago...

74
00:05:43,120 --> 00:05:45,759
or even a thousand years ago.

75
00:05:52,720 --> 00:05:56,633
''The text is by Eisenstein.
It is read by S. Bondarchuk.''

76
00:06:01,000 --> 00:06:02,558
Stone.

77
00:06:04,240 --> 00:06:05,832
Gods.

78
00:06:08,040 --> 00:06:09,553
People.

79
00:06:38,600 --> 00:06:42,309
A land of sacred ruins
and huge pyramids.

80
00:06:43,200 --> 00:06:46,397
Men and women with the features

81
00:06:46,600 --> 00:06:48,033
of their ancestors.

82
00:06:57,040 --> 00:07:00,510
The pagan temples
of holy cities.

83
00:07:02,000 --> 00:07:03,718
A kingdom of death...

84
00:07:04,760 --> 00:07:08,116
where the past
dominates the present.

85
00:07:08,840 --> 00:07:12,515
And faces like those
hewn in stone-

86
00:07:15,200 --> 00:07:19,352
like those...

87
00:07:19,760 --> 00:07:22,115
of the Mexicans of old.

88
00:07:29,440 --> 00:07:32,671
Symbolic reminder of the past:

89
00:07:33,680 --> 00:07:37,036
a funeral

90
00:07:37,240 --> 00:07:39,310
amidst dead ruins.

91
00:07:40,520 --> 00:07:43,432
In total bondage...

92
00:07:45,400 --> 00:07:49,791
to the idea of death,
of man's physical end.

93
00:09:28,240 --> 00:09:31,357
Tropical Tehuantepec.

94
00:09:33,440 --> 00:09:36,238
Here time flows slowly...

95
00:09:36,440 --> 00:09:38,396
to the accomplishment
of the rustle of the palm fronds.

96
00:09:39,800 --> 00:09:42,598
The way of life
remains unchanged for centuries.

97
00:09:43,640 --> 00:09:47,792
At its dawn,
the world must have been full...

98
00:09:48,840 --> 00:09:53,072
of the same regal indolence.

99
00:11:16,440 --> 00:11:18,476
''The Sandunga''

100
00:11:31,360 --> 00:11:35,717
Girls sing the sandunga
as they daydream of the future.

101
00:11:40,760 --> 00:11:43,558
Full of pride
in her youthful beauty.

102
00:11:43,920 --> 00:11:45,399
Concepcion.

103
00:12:07,240 --> 00:12:11,119
Her most cherished dream -
a gold necklace.

104
00:12:11,840 --> 00:12:15,879
A dream shared
by every girl in Tehuantepec.

105
00:12:18,520 --> 00:12:22,798
The necklace is her dowry,
her key to marital bliss.

106
00:12:27,960 --> 00:12:31,953
The woman works,
she chooses a husband for herself...

107
00:12:32,680 --> 00:12:35,558
and she brings him
into their new house.

108
00:12:36,720 --> 00:12:38,312
Matriarchate.
Rule by the women.

109
00:13:16,240 --> 00:13:19,630
Here the girls go to work early
and save every copper...

110
00:13:20,200 --> 00:13:24,557
to acquire a necklace
of gold coins...

111
00:13:24,960 --> 00:13:27,838
by the time they are 16 or 18.

112
00:14:21,280 --> 00:14:25,592
Concepcion needs one more
gold coin - just one -

113
00:14:25,800 --> 00:14:28,394
for her dream to be realized.

114
00:15:40,840 --> 00:15:43,752
May your necklace
bring you happiness!

115
00:15:50,840 --> 00:15:53,479
Abundio, the object
of Concepcion's affection.

116
00:18:04,240 --> 00:18:06,037
Isn�t this what you wanted,

117
00:18:07,040 --> 00:18:09,156
Concepcion?

118
00:18:09,760 --> 00:18:12,593
What you dreamed of for so long?

119
00:18:27,440 --> 00:18:30,591
The matter passes into the hands...
of the mothers and matchmakers.

120
00:19:11,080 --> 00:19:13,310
They inspect the dowry.

121
00:19:22,560 --> 00:19:24,994
How many coins in the necklace?

122
00:19:26,320 --> 00:19:29,232
Are they pure gold?

123
00:20:00,440 --> 00:20:03,830
The whole population
of Tehuantepec...

124
00:20:04,040 --> 00:20:05,632
takes part in the event.

125
00:24:22,840 --> 00:24:26,913
A slow, semi-vegetative
existence.

126
00:24:27,800 --> 00:24:30,519
A way of life...

127
00:24:31,360 --> 00:24:34,750
that has not changed
over the centuries.

128
00:24:43,320 --> 00:24:45,914
As the years go by,
new flowers blossom.

129
00:25:25,080 --> 00:25:26,877
''Fiesta''

130
00:25:28,200 --> 00:25:31,476
The action of this story is set...

131
00:25:31,680 --> 00:25:34,592
during the Feast of
the Holy Virgin of Guadalupe.

132
00:25:35,280 --> 00:25:39,034
But this is also
an annual reminder...

133
00:25:39,240 --> 00:25:41,470
of Spain's conversion
of Mexico...

134
00:25:41,680 --> 00:25:44,797
into a colony
of bloodshed and suffering.

135
00:26:13,040 --> 00:26:15,679
In the 16th century

136
00:26:15,880 --> 00:26:17,359
Cortes conquered Mexico.

137
00:26:18,920 --> 00:26:21,639
The monks who came with him

138
00:26:22,400 --> 00:26:23,913
wiped out pagan cults...

139
00:26:24,120 --> 00:26:26,076
with fire and sword.

140
00:27:00,760 --> 00:27:03,149
On pyramids once crowned

141
00:27:03,360 --> 00:27:07,273
by Aztec and Toltec temples...

142
00:27:07,480 --> 00:27:10,950
the Spaniards erected
Catholic churches...

143
00:27:11,640 --> 00:27:15,633
so as not to change
the routes of the pilgrims...

144
00:27:15,840 --> 00:27:19,150
who had been coming there
for thousands of years.

145
00:27:34,280 --> 00:27:37,875
A mystery play, in which
the pilgrims who enact it...

146
00:27:38,960 --> 00:27:42,475
portray the sufferings
of Jesus.

147
00:27:43,920 --> 00:27:47,708
Sharp prickles penetrate
the bodies...

148
00:27:48,040 --> 00:27:52,511
of those who make crosses
out of cactus stems...

149
00:27:52,840 --> 00:27:56,037
and, with these tied
on their shoulders...

150
00:27:56,280 --> 00:28:00,114
crawl for hours
to the top of the pyramid.

151
00:30:57,280 --> 00:30:59,157
Masks of devils,

152
00:30:59,360 --> 00:31:01,749
pagan gods...

153
00:31:01,960 --> 00:31:05,714
and Spanish conquistadors
side by side.

154
00:31:09,640 --> 00:31:11,710
The dance goes on
from dawn to dusk.

155
00:31:11,920 --> 00:31:14,514
Without a pause.
Over and over again...

156
00:31:15,560 --> 00:31:18,120
they repeat the same steps...

157
00:31:18,320 --> 00:31:21,039
in honor of the Holy Virgin.

158
00:31:21,960 --> 00:31:24,633
Or perhaps - who knows -

159
00:31:24,960 --> 00:31:27,076
of a more ancient goddess -

160
00:31:27,280 --> 00:31:29,794
the awesome mother of gods

161
00:31:56,560 --> 00:32:00,633
Then the gory finale,
the bullfight.

162
00:32:01,720 --> 00:32:03,358
Introduced by the Spaniards...

163
00:32:03,560 --> 00:32:07,075
and now a national spectacle
of the Mexicans.

164
00:32:09,200 --> 00:32:13,193
David Liseaga,
a famous Mexican matador.

165
00:32:19,200 --> 00:32:20,952
His younger brother.

166
00:32:52,240 --> 00:32:55,312
Baronito, a picador.

167
00:34:09,920 --> 00:34:12,832
They call on their mother...

168
00:34:13,520 --> 00:34:15,476
to say good-bye to her...

169
00:34:16,000 --> 00:34:18,150
perhaps for the last time.

170
00:35:22,560 --> 00:35:23,709
Today is a day when the toreros
will kill bulls...

171
00:35:23,920 --> 00:35:27,833
in honor of the Virgin.

172
00:36:05,880 --> 00:36:08,758
The chosen queens
of the bullfight.

173
00:37:24,840 --> 00:37:27,149
The razor's edge...

174
00:37:27,360 --> 00:37:30,193
between death and victory.

175
00:37:52,760 --> 00:37:54,637
Among the local belles...

176
00:37:54,840 --> 00:37:56,876
Baronito catches sight
of his lady love...

177
00:37:57,080 --> 00:37:58,672
Se�ora Calder�n.

178
00:38:54,800 --> 00:38:58,110
What else is there
for the poor picador to do?

179
00:43:31,880 --> 00:43:35,759
Mexico, tender and lyrical.
And also cruel.

180
00:43:49,560 --> 00:43:53,633
Above the high hacienda walls...

181
00:43:54,680 --> 00:43:57,831
floats a plaintive song.

182
00:43:59,360 --> 00:44:03,194
The peons beg the Holy Virgin

183
00:44:03,800 --> 00:44:06,439
to ease their sufferings...
on the day now dawning.

184
00:45:22,400 --> 00:45:25,631
The time: the beginning
of the 20th century...

185
00:45:27,920 --> 00:45:31,356
during the reign
of dictator Porfirio Diaz.

186
00:45:39,240 --> 00:45:41,595
''Maguey''

187
00:45:46,360 --> 00:45:49,716
Native to the hilly country
of the state of Hidalgo...

188
00:45:49,960 --> 00:45:54,238
is a large cactus named maguey.

189
00:45:55,560 --> 00:45:59,109
These lands...

190
00:45:59,320 --> 00:46:02,869
are a part
of the Tetlapayac hacienda...

191
00:46:03,080 --> 00:46:06,311
in Llanos de Apam.

192
00:47:03,840 --> 00:47:07,037
Their lot, day after day,
is to suck out...

193
00:47:07,240 --> 00:47:10,357
the thick juice
from the heart of the cactus.

194
00:47:12,440 --> 00:47:14,351
The juice will ferment
and be ready to drink.

195
00:47:14,560 --> 00:47:18,109
The strong, milky white beverage

196
00:47:18,320 --> 00:47:19,878
is called pulque.

197
00:47:58,960 --> 00:48:01,713
Sebastian, a peon,
is at work in the fields.

198
00:48:01,920 --> 00:48:04,718
His betrothed, Maria,
is brought by her parents.

199
00:50:24,360 --> 00:50:27,397
Felicio, Sebastian's
younger brother.

200
00:51:07,120 --> 00:51:09,839
The landlords and his friends.

201
00:51:29,000 --> 00:51:32,788
Every bride-to-be on the estate
must be shown to the master.

202
00:52:50,320 --> 00:52:54,916
The old man's daughter Sara...
arrives with her cousin.

203
00:52:55,920 --> 00:52:58,673
A family holiday.

204
00:52:58,880 --> 00:53:02,793
The landlord celebrates.

205
00:53:34,040 --> 00:53:35,996
Maria is forgotten.

206
00:54:00,240 --> 00:54:03,710
The naive girl is unaware
of what is in store for her.

207
00:54:06,520 --> 00:54:10,308
Fate takes the form
of a drunken guest.

208
00:57:17,720 --> 00:57:20,314
Hatred sparks a plot.

209
00:57:20,680 --> 00:57:24,116
Three of his comrades
and Felicio, his brother-

210
00:57:24,320 --> 00:57:26,754
They will help him
to take revenge.

211
01:00:08,720 --> 01:00:10,870
They want to free Maria.

212
01:16:03,320 --> 01:16:07,950
Slumbering Mexico. Enslaved Mexico
Fermenting Mexico

213
01:16:08,800 --> 01:16:12,918
And finally, fighting
revolutionary Mexico

214
01:16:13,520 --> 01:16:15,954
But that last part
remained undone

215
01:16:16,800 --> 01:16:20,918
The picture's small budget
was used up...

216
01:16:21,800 --> 01:16:23,677
and shooting came to an end.

217
01:16:23,960 --> 01:16:26,349
We returned home.

218
01:16:28,920 --> 01:16:31,992
''Soldadera''

219
01:16:33,240 --> 01:16:35,071
was intended to depict Mexico...

220
01:16:35,560 --> 01:16:38,028
during the uprising of 1910

221
01:16:39,440 --> 01:16:41,954
a country engulfed
in the flames of civil war...

222
01:16:42,160 --> 01:16:44,833
divided into hostile camps...

223
01:16:45,600 --> 01:16:49,513
and then united by the victory
of the revolution.

224
01:16:50,400 --> 01:16:53,949
The Mexican people at arms...

225
01:16:54,600 --> 01:16:57,751
were to be the heroes of this story.

226
01:17:00,200 --> 01:17:02,714
Soldaderas are the wives
of soldiers.

227
01:17:03,480 --> 01:17:06,233
They broke into villages
and captured provisions...

228
01:17:06,440 --> 01:17:11,275
to feed their weary men.

229
01:17:14,200 --> 01:17:17,510
The soldaderas were always
beside the men.

230
01:17:18,280 --> 01:17:20,635
The soldadera to us
was to have been...

231
01:17:20,840 --> 01:17:23,229
a symbol of Mexico itself -

232
01:17:23,600 --> 01:17:26,398
a symbol of land
whose people came to realize...

233
01:17:26,600 --> 01:17:30,149
that strength lies in unity...

234
01:17:30,360 --> 01:17:31,759
and that they must unite
to fight reaction.

235
01:17:38,280 --> 01:17:41,238
''Epilogue''

236
01:17:42,280 --> 01:17:44,669
The time.1931

237
01:17:45,960 --> 01:17:49,430
The place. Mexico.

238
01:17:51,920 --> 01:17:54,992
Another holiday,
the Day of the Dead.

239
01:17:56,320 --> 01:17:59,517
On this day, November 2 ...
the emblem of death

240
01:17:59,720 --> 01:18:02,678
and, above all, skulls...
are everywhere.

241
01:18:16,800 --> 01:18:20,031
The day begins
with mourning for the dead.

242
01:19:03,120 --> 01:19:06,908
Revelry in cemeteries,
eating on gravestones...

243
01:19:07,120 --> 01:19:10,635
lovemaking in the cemetery shrubbery.

244
01:19:34,160 --> 01:19:37,596
From candles and food
in the graveyard...

245
01:19:38,440 --> 01:19:41,034
to a rollicking carnival.

246
01:19:56,000 --> 01:19:59,436
The Mexican scorns death.

247
01:19:59,880 --> 01:20:03,190
What is more...
the Mexican mocks death.

248
01:20:15,560 --> 01:20:17,790
Chocolate coffins

249
01:20:18,000 --> 01:20:19,433
complete with sugar corpse.

250
01:20:19,640 --> 01:20:21,870
And at the day's end,
all this goes...

251
01:20:22,080 --> 01:20:26,312
into the bronzed bellies
of Mexican children.

252
01:20:41,440 --> 01:20:43,874
A skull under a minister's
top hat...

253
01:20:44,360 --> 01:20:47,477
a fireman's helmet,
a policeman's cap...

254
01:20:47,920 --> 01:20:50,639
a general's cocked hat.

255
01:21:06,760 --> 01:21:09,991
Not a cult of death this,
not the stillness of stone...

256
01:21:10,200 --> 01:21:14,478
or the awesomeness
of stone idols...

257
01:21:15,480 --> 01:21:16,435
No!

258
01:21:17,040 --> 01:21:21,033
But man's triumph over death
through mockery of it.

259
01:21:40,240 --> 01:21:42,708
The masks are removed.

260
01:21:44,520 --> 01:21:47,512
Not sham skulls now
but real ones.

261
01:21:48,560 --> 01:21:52,792
The corpses of a doom class.

262
01:22:21,880 --> 01:22:24,155
Whom will we see
behind this mask?

263
01:22:25,200 --> 01:22:28,636
A soldadera's son?

264
01:22:28,840 --> 01:22:33,630
One of whose hands
are destined to forge...

265
01:22:34,320 --> 01:22:37,471
a truly free Mexico?

266
01:22:43,200 --> 01:22:47,876
QUE VIVA MEXICO!

267
01:22:49,080 --> 01:22:51,958
This film was restored by:

268
01:22:53,040 --> 01:22:55,952
Grigory Alexandrov

269
01:22:57,200 --> 01:23:00,795
Editor:Esfir Tobak

270
01:23:01,760 --> 01:23:04,832
Nikita Orlov

271
01:23:05,640 --> 01:23:08,837
Nikolai Olonovsky

272
01:23:09,800 --> 01:23:12,872
Yuri Yakushev

273
01:23:13,680 --> 01:23:16,877
Victor Babushkin

274
01:23:17,800 --> 01:23:19,791
Leonid Nekhoroshev

275
01:23:20,000 --> 01:23:22,878
Vera Nikolskaya
Raisa Lukina

276
01:23:23,720 --> 01:23:27,599
Yuri Sobolev
Alexander Goldstein

277
01:23:53,600 --> 01:23:55,511
Chief consultant:

278
01:23:55,720 --> 01:23:58,951
Rotislav Yurenev, D.Sc.

279
01:23:59,720 --> 01:24:01,597
The footage shot
in 1931 and 1932...

280
01:24:01,800 --> 01:24:05,110
was processed and presented
by USSR State Film Archives.

281
01:24:05,880 --> 01:24:09,190
''The End''