IMDb > Que Viva Mexico (1979)
¡Que Viva Mexico! - Da zdravstvuyet Meksika!
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Que Viva Mexico (1979) More at IMDbPro »¡Que Viva Mexico! - Da zdravstvuyet Meksika! (original title)

Videos (see all 2)
Que Viva Mexico -- Eisenstein shows us Mexico in this movie, its history and its culture. He believes, that Mexico can become a modern state.
Que Viva Mexico -- Eisenstein shows us Mexico in this movie, its history and its culture. He believes, that Mexico can become a modern state.

Overview

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7.7/10   902 votes »
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Up 11% in popularity this week. See why on IMDbPro.
Writers:
Sergei M. Eisenstein (original screenplay)
Grigori Aleksandrov (additional material)
Contact:
View company contact information for Que Viva Mexico on IMDbPro.
Release Date:
November 1979 (USA) See more »
Plot:
Eisenstein shows us Mexico in this movie, its history and its culture. He believes, that Mexico can become a modern state. | Full synopsis »
Plot Keywords:
Awards:
1 win See more »
User Reviews:
Mexico seen through the (surprisingly) anthropological eye of Eisenstein See more (12 total) »

Cast

  (in credits order) (complete, awaiting verification)
Sergey Bondarchuk ... Narrator (voice)
Grigori Aleksandrov ... Himself

Directed by
Sergei M. Eisenstein 
 
Writing credits
(in alphabetical order)
Grigori Aleksandrov  additional material
Sergei M. Eisenstein  original screenplay

Produced by
Kate Crane Gartz .... producer
S. Hillkowitz .... producer
Otto Kahn .... producer (as Kenneth Outwater)
Hunter S. Kimbrough .... producer
Mary Craig Sinclair .... producer
Upton Sinclair .... producer
 
Cinematography by
Eduard Tisse 
 
Film Editing by
Grigori Aleksandrov 
Esfir Tobak 
 
Editorial Department
Elene Avakova .... post-production team member
Yelena Babenko .... post-production team member
Viktor Babushkin .... post-production team member
Galina Borolibova .... post-production team member
Alexander Goldstein .... post-production team member
Yuri Isaikim .... post-production team member
Emin Khachaturyan .... post-production team member
Sergei Komminar .... post-production team member
Raisa Lukina .... post-production team member
Leonid Nekhoroshev .... post-production team member
Vera Nikolskaya .... post-production team member
Nikolay Olonovskiy .... post-production team member
Nikita Orlov .... post-production team member
Raisa Politkina .... post-production team member
Vadim Sazonov .... post-production team member
Sergey Skripka .... post-production team member
Yuri Sobolev .... post-production team member
Edgar Staturtskobev .... post-production team member
Lyubov Strageva .... post-production team member
Vladimir Tsetlin .... post-production team member
Yuri Yakushev .... post-production team member
Rostislav Yurenev .... chief post-production consultant
 
Other crew
Jose Clemente Orozco .... technical advisor: foreign locations (uncredited)
Diego Rivera .... technical advisor: foreign locations (uncredited)
David Alfaro Siqueiros .... technical advisor: foreign locations (uncredited)
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"¡Que Viva Mexico! - Da zdravstvuyet Meksika!" - Soviet Union (original title)
"¡Que viva Mexico!" - USA
See more »
Runtime:
90 min | France:84 min (dvd release)
Country:
Language:
Sound Mix:
Certification:
Argentina:X (original rating) | Argentina:13 (re-rating) | Finland:K-12 | France:Unrated | Portugal:M/6
Company:

Did You Know?

Goofs:
Continuity: 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 »
Movie Connections:
Referenced in Urinal (1989)See more »

FAQ

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6 out of 7 people found the following review useful.
Mexico seen through the (surprisingly) anthropological eye of Eisenstein, 8 April 2008
Author: MisterWhiplash from United States

Considering that Que Viva Mexico was (mostly) made by Sergei Eisenstein, and funded by Upton Sinclair, the most happy surprise is that the film isn't overloaded with the kind of communist/socialist propaganda that would be immediately expected. It's not that this would be a bad thing in the technical sense; Eisenstein, on the front of being a pure visionary, couldn't be stopped no matter how thin he stretched himself for his means as a director who had to stay to party/country guidelines. And for Sinclair, the meatier the context the better the hyperbole. But with Que Viva Mexico! we get a view of the people and customs like out of a measured fever dream. We're given more-so the customs and the traditions, the practice of a marriage, the bullfights, some of the context of the history behind those 'Day of the Dead' parades. Only here and there are any blatant pleas seen and heard loud and clear (mostly involving the poorest of the poor in the lot).

Actually, it could be something, in a sense, comparable to Werner Herzog in attempting the documentary form. It's not quite fiction, but it's presenting documentary in a stylized manner, where things aren't simply stock footage but very much a set-up of the construction of drama in the scenes and scene-location specific shots and angles. And like Herzog, Eisenstein has a poet's eye for visions that many might only see in the most remote history books or travelogues. While the accompanying narration for Que Viva Mexico is a little on the creaky end, there's no lack of splendor for the senses as far as getting an eye full of carefully picked locals (i.e. the girl Concepcion for the marriage scenes) or for mixing real documentary footage of the bullfight with careful constructed shots of the bullfighter before and after the fact. Even the music plays a nifty role in the dramatization of events. And here and there, especially as the film rolls along in its last third, a subtle sensation of the surreal drifts into the proceedings.

Unfortunately, like It's All True for Orson Welles, Que Viva Mexico remains something of a carefully plucked fragment from a lost bit in the director's career. It's a minor marvel, and certainly more than a curiosity for the die-hard documentary or Mexican history buff, but it's stayed obscurer than Eisenstein's more infamous pieces (Potemkin, Alexander Nevksy) for a reason. Despite all the best intentions to simply reveal the cultural day-to-day workings and a little of the socio-political context of the Conquistadors' impact, it's a cool curiosity at best.

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