DESCRIPTION

¡Qué viva México! (Russian: Да здравствует Мексика!) is a film project begun in 1930 by the Russian avant-garde director Sergei Eisenstein (1898-1948). It would have been an episodic portrayal of Mexican culture and politics from pre-Conquest civilization to the Mexican revolution. Production was beset by difficulties and was eventually abandoned. Jay Leyda and Zina Voynow call it his "greatest film plan and his greatest personal tragedy".
Eisenstein left for Mexico in December 1930—after various projects proposed by Charles Chaplin and Paramount Pictures fell through, and Paramount released him from his contract. The Mexican film was produced by Upton Sinclair and a small group of financiers recruited by his wife Mary Craig Kimbrough Sinclair, under a legal corporation these investors formed, the Mexican Film Trust. Their contract with Eisenstein called for a short, apolitical feature film about or involving Mexico, in a scenario to be designed and filmed by Eisenstein and his two compatriots, Grigori Alexandrov and Eduard Tisse. Other provisos of the contract, which Eisenstein signed on 24 November 1930, included that the film would be completed (including all post-production work) by April 1931, and would show or imply nothing that could be construed as insulting to or critical of post-Revolution Mexico (a condition imposed by the Mexican government before it would allow the three Soviets entry into their country). Filmed material was also to be subject to censorship by the Mexican government, at first after it was filmed and printed, later in 1931 during shooting via an on-site censor.

Фильм восстановлен по замыслу и материалам Сергея Эйзенштейна, снятым оператором Эдуардом Тиссэ в Мексике ("Que Viva Mexico!", 1931-1932). В прологе говорится о далеком прошлом и памятниках архитектуры Юкатана. Идиллическая новелла "Сандунга" - воспоминание о Мексике дофеодальных времен. Новелла "Магей" - драматическая история любви бедного пеона и его невесты. "Фиеста" - романтическая любовная история и бой быков. "Солдадера" (четвертая новелла) не была снята Эйзенштейном. По замыслу она посвящалась мексиканской революции 1910 года. В последней новелле использованы фрески Ороско, Сикейроса, Риверы.
Прокат - 1.9 млн. зрителей.