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Que Viva Mexico (1979)

¡Que Viva Mexico! - Da zdravstvuyet Meksika! (original title)
Eisenstein shows us Mexico in this movie, its history and its culture. He believes, that Mexico can become a modern state.


(additional material), (original screenplay)

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In 1930, a group of three Russians - Sergei Eisenstein, Grigori Alexandrov, and Eduard Tisse - began an ambitious film in Mexico. A year later the backers halted the project before filming was complete.

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The story of how a great Russian prince led a ragtag army to battle an invading force of Teutonic Knights.

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During the early part of his reign, Ivan the Terrible faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people.

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100.000.000 peasants - illiterate, poor, hungry. There comes a day when one woman decides that she can live old life no longer. Using ways of new Soviet state and industrial progress she changes life and labor of her village.

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As was common in Diaz's Mexico, a young hacienda worker finds his betrothed imprisoned and his life threatened by his master for confronting a hacienda guest for raping the girl.

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Complete credited cast:
Narrator (voice)


Eisenstein shows us Mexico in this movie, its history and its culture. He believes, that Mexico can become a modern state.

Plot Summary | Plot Synopsis


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Release Date:

November 1979 (USA)  »

Also Known As:

Que Viva Mexico  »

Filming Locations:


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Sound Mix:

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Did You Know?


The rifles Sebastian and his friends take from the gallery are of lever-action design, in the following gun-fight in the cactus fields they unmistakably use single-shot bolt-action rifles. See more »


Referenced in La última película (2013) See more »

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User Reviews

First video version of a flawed masterpiece (nevertheless ****)
7 December 1998 | by (Corpus Christi, Texas USA) – See all my reviews

Although its coscenarist and director, Sergei M. Eisenstein did not live to complete "Que Viva Mexico?," the Russian who reconstructed this 1979 version for Mosfilm, Grigori Alexandrov, co-authored the film and worked closely with Eisenstein in 1931 and 1932 in the filming of the footage ultimately fashioned into several pictures, including butchered versions released by Sol Lesser and even some Bell and Howell documentaries! At some point, the man who initially commissioned the movie, Upton Sinclair, donated all or almost all of Eisenstein's footage to the Museum of Modern Art, which made it available as it was shot (take by take by take) in a "study" film. This is the first time, to my knowledge, that an edited version has appeared in video, and for that, Eisenstein fans and lovers of cinema should be jubilant! Even if Alexandrov had cut the footage completely out of order and in a form that would make Sergei Mikhailovich roll over in his grave, we can appreciate the dynamic power of the images, so ingeniously composed and photographed by Eisenstein with his longtime cameraman, Eduard Tisse. Of course, Eisenstein's remarkable scenario could never be realized EXACTLY as he wrote it, but Alexandrov did an admirable job all the same. In whatever form we see it, Eisenstein's footage reminds us that this aborted masterpiece, had he been able to complete the movie, would have been just that -- one of the greatest motion pictures of all time. It is a tragedy for film lovers that Eisenstein could not obtain the negative from the Sinclair cabal (which included the American author's Pasadena, California Standard Oil cronies!) at the time. But this 1979 version is better than nothing, and a lot better than many so-called movies churned out by Hollywood today. The film should be studied by every student of cinema, and especially photographers and editors. In truth, Eisenstein probably was planning as many as six different films, but Sinclair sent his alcoholic brother-in-law to ride herd on the Russians, to the result that the "plug was pulled" on the production short of its completion by Eisenstein. Frankly, had the latter managed to complete the movie and edit it himself, I am convinced film buffs would put it right up there with "Citizen Kane" and "Casablanca" (i.e. among the greatest masterpieces of cinema). I recommend the film highly, if only as a reminder of what might have been!

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