Word: eisensteins
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...would in the end be no difference between the way things were "out there" and their representation in the work of art. ". . . you get the impression," Pauline Kael has written, "that such cinema theorists think that Griffith shot The Birth of the Nation while the battles were raging, that Eisenstein was making newsreels, and that Rossellini and Bunuel were simply camera witnesses to scenes of extraordinary brutality...
...Sergei Eisenstein, the director of Potemkin, was originally a mathematician an engineer. His chief artistic interest was for many years the Japanese theater, perhaps the most stylized of all artistic representations. And in Potemkin Eisenstein made one of the few triumphs within the prescribed Marxist form. Potemkin does not deviate one iota from the social realism formula. It is propaganda, and yet it is compelling. It transcends its message and endures not just as a chapter in art history, but as a still fascinating work...
...feels Eisenstein's intelligence at work in every frame of the film. What is most fascinating about Potemkin is ultimately very individualistic. It is the virtuosity of the director. The drama of Potemkin is of an artist making a masterpiece out of his raw materials as we watch. Motion is created before our eyes, from still shots, as in the montage on the steps, or the three shots of stone lions whose juxtaposition makes the Czarist lion seem to stand up and roar. The very astringency of the proletariat form seemed to bare, as in any stylized form, the sinews...
...turned out 47 Charlie Chan features and serials. There were also such spin-offs as a comic strip, a radio show and a short-lived TV series. Last week Manhattan's Museum of Modern Art, which is more accustomed to honoring film giants such as Jean-Luc Godard, Eisenstein and Billy Wilder, opened a Charlie Chan festival that will exhume 23 of his movies, most of which are familiar to late-show devotees...
...then saddle up and ride to the watchtower where "Princess kept the view"--an image like the scene in Ivan the Terrible in which Ivan, in seclusion, is begged to return. (Eisenstein too was a master of defamiliarization...