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Published:March 1st, 2008 07:01 EST
The World of Ejzenshtejn

The World of Ejzenshtejn

By Maria Ardysheva

The Lumière Brothers, having thought that they people would pay them money for a showing of an arriving train, had so never understood were born as a result of their union. But in 1898, to the family of architect Michael Eisenstein a child was born who would give a cinema sense and destiny.

During his childhood he was engaged in a photo, put on amateur performances, and when he turned eighteen years old, he went to the Petersburg institute of civil engineers - to continue his father's business. But after the Bolshevik Revolution and serving for two years in the Red Army, in 1920 Eisenstein arrived in Moscow and started to work for the Theater of Proletariat.

There, he engaged in various activities which led to the destruction of the theater. In the “LEF” magazine, Eisenstein published the manifest titled “Installation of attractions,” where he explained, that it wasn't necessary to influence the public by turns of attractions - elements of statement using of a circus, a variety and the poster - but that he did, was already obvious not theater. It was the antitheater.

In 1924, Eisenstein sent his script to the “First film studio.” It gave birth to the “Strike” film.

Eisenstein's films are fearfully modern. All methods – from cutting to building the mood - were saved because of Eisenstein's vision of the cinema. The world of cinema became as real as the one we live in.

Eisenstein wasn't scared of technical progress at cinema - he anticipated the changes and awaited them. Also it is possible to imagine that as easy as moving from silent movies to sound films, Eisenstein – had he lived long enough – would have easily evolved from black-and-white films to the color ones.

Sergei Eisenstein lived for only fifty years. And although he began his career rather early – he produced his first movie while being only twenty-six years old. Later came other films: “Strike,” “Battleship Potemkin,” “October,” “Old and new,” “Alexander Neva,” and two series of “Ivan Terrible.”

Eisenstein didn't simply provide people with entertainment anymore – he built the worlds. In each film he created a real world with its own rules and laws.

When Eisenstein took up modernism, problems begun. The world planned by Bolsheviks, and the worlds created by his imagination, started to push each other away. The films he created weren't shown on the screen any more, the finished material disappeared.

For thirteen years Eisenstein traveled extensively and engaged in the theory of cinema. He visited Western Europe and America, read books and studied the art of cinema of these countries. No sooner than in 1938 did he produced another film, “Alexander Neva” - about the Russian people's struggle against German invaders and during the Great Domestic War. Then he filmed a new picture - “Ivan Terrible.”

But all appeared not so simply – the worlds of Eisenstein didn't become more safe. They did not compete any more to the world of the Soviet authority, did not try to replace it or to change it. Sergei Eisenstein reflected on his native land, on the greatness and tragedy of the tyrant. All this appeared too important for modernism to him of the country: the second series of “Ivan Terrible” included some forbidden shootings and the third series was suspended.

On February 11, 1948, during the night, Sergei Eisenstein died of a heart attack. Next to his bed was a wrench that he used to knock on the battery in order to make neighbors from the downstairs to come.