Mikhailovich Eisenstein, film director and theoretician, was born
23rd January 1898 in Riga, Latvia of a Russian mother
and a father of German-Jewish origin. By the age of ten he could
speak Russian, English, German and French and had developed a talent
for drawing. After his parents separated he spent most of the time
with his father in Riga or St. Petersburg.
He began to study civil engineering in Petrograd in 1915, but his
passion was the theatre and "used" the February 1917 Revolution
to break with the vocation his father intended for him.
is a recent (2001) interesting film about Eisenstein,
which was shown at the Berlinale.
the film is controversial for some people, because it
"plays" with fact a little, I think it excellent.
The film deals with an eternal problem of the conflict
between King and conscience, in this case between Stalin
and Eisenstein's Personality. To illustrate this the
film shows the rise and fall of the Russian revolutionary
filmmaker. It is a very good film even if - as the director
Renny Bartlett admitted in a post -showing discussion
he creates a myth out of Eisenstein.
Eisenstein spent two years in the Red Army during 1918/1920. His
father served in the White Army. Sergei soon transferred to a theatrical
troupe. After leaving the army, a childhood friend, the actor Maxim
Strauch, took him under his wing while the two were looking for
work in the new worker's theatres.
Innovations in Russian life, including the arts, were on the order
of the day. While at the Proletkult Theatre his original ideas became
the talk of Moscow's theatre-world and in autumn 1922 he set about
putting them into practice. Eisenstein, who had been a film fan
since his student days, attended a film workshop, helped a friend
edit several films, and on this basis started his first film. He
was fortunate to have as cameraman Edward Tissé who not only captured
Eisenstein's imagery but also taught him about film technique. They
worked together most of Eisenstein's career.
The reaction to Strike was mixed, the Russian public didn't
like it, but Pravda called it "the first revolutionary creation
of our cinema". The film was intended as part of a series which
didn't materialise, but The Battleship Potemkin did. Criticised
in Russia as above the heads of the audiences, the film played to
half empty houses. Abroad its imagery, pictorial composition and
editing lead it to be voted on several occasions as the best film
In Berlin (1926) the Potemkin was launched in a small cinema
in Bahnhof-Friedrichstraße. Following a ban and police actions,
the film rapidly became a success. Prometheus (the film's distributors)
wrote to Eisenstein: "Please accept our hearty congratulations
for yourself and your friend Tissé, on the great success which the
film Battleship Potemkin has achieved. Hardly were the reviews of
the premier in print than we had a regular storm of theatre owners
at our door. ... Each wanted to show Potemkin. "
Eisenstein was given carte blanche to use Leningrad, palaces and
population, to make a film to celebrate the tenth anniversary of
the October Revolution. The film (October) was ready for
November 1927, but Leon Trotsky fell from grace and extensive last-minute
cuts were "necessary". His next film The General Line,
was ready in April 1929 but public showing was postponed for several
months to allow for changes – on Stalin's orders. Again it was criticised
for formalism. Eisenstein, like many Soviet artists was having increasing
difficulties with the Soviet authorities. But abroad he was recognised
as one of the leaders of the new cinema. He also had another problem
– his homosexual feelings which he wanted to suppress.
He had planned a trip to the USA since Douglas Fairbanks and Mary
Pickford had promised him help when they visited Moscow in 1926.
Eisenstein travelled with Edward Tissé and Grigori Alexandrov. While
film enthusiasts and makers welcomed him, he was an object of suspicion
for state authorities.
In Berlin Eisenstein was given a great welcome. He went to Hirschfeld's
Institute for Sexual Science and later told an American writer:
"Had it not been for Leonardo, Marx, Lenin Freud and the
movies I would in all probability have been another Oscar Wilde." He travelled
on to Zurich, where he attended a film congress, gave several lectures
– and was asked to leave the country. After visits to London, Belgium
and the Netherlands, he was in Paris in time to witness a controversy
around his film The General Line. One screening was stopped
for "security" reasons. In summer 1930 his arrival in
the USA was greeted by a smear campaign to get him deported. He
also had problems with getting the Hollywood Studios to approve
his projected films, including Theodore Dreisser's "An
American Tragedy", although Dreisser himself enthused over
the script. Finally, Paramount bought him a ticket back to Moscow.
Through the mediation of Charlie Chaplin, however, Upton Sinclair
the novelist, headed a group to provide finances for Eisenstein,
who left for Mexico. Eisenstein's new project was called Que
Viva, Mexico! The preparations dragged on for months and Sinclair
became impatient although he was pleased with the rushes sent to
Under pressure from his partners Sinclair cut off money and ordered
the shooting stopped. Eisenstein, was stuck in Mexico, without money,
and unable to get even a transit visa for the USA. Kenneth Rexroth
reports a conversation with Eisenstein in which he admitted being
forced to return to the Soviet Union by a threat to expose his sex
life and Karlinsky quotes Edmund Wilson: Upton Sinclair denounced
Eisenstein "to Stalin when Sinclair found out about the director's
sex life." Eisenstein was shattered over the failure
of the Mexico project. He arrived home to criticism of his long
absence and was attacked for deviating from Socialist Realism.
In January 1934 there were mass arrests of gays – including many
actors, musicians and artists. Homosexuality became a crime in the
same category as counter-revolutionary activities. No wonder Eisenstein
later told his friend and biographer Marie Seton, "I have
never felt any such desire ... though I think I must in some way
have a bisexual tendency ..."
As Simon Karlinsky puts it, "most gay men who wanted a
career in the arts or the government had to resort to a tactic practiced
to this day – marriage to a woman – in order to deflect suspicions.
This practice was unknown in Russia prior to the October Revolution."
Eisenstein married a woman with who had been a friend for years.
With projects rejected and offers unacceptable, the difficulties
reached a high point when at the All Union Conference of Cinematic
Workers,(1935) he was attacked by his colleagues. His answer was
to make Bezhin Meadow, based on a Turgenev story, but the
shooting was interrupted by his illnesses. Despite attempts to meet
criticism, work on the film was stopped, a vicious attack published
in Pravda, and a special conference called to condemn the film!
He publicly "confessed" his mistakes.
Political developments in Europe gave a boost to patriotism. The
result was a film on Prince Alexander Nevsky, who led the Russians
against a Teutonic invasion in the 13th century. Almost
operatic in style, and blessed with a score by Sergei Prokofiev
it was a major success – but withdrawn after the German-Soviet Pact
He taught and wrote about his theories, a central theme of which
was "art is conflict". For Eisenstein, film was a way
of developing the social consciousness of the audience. During 1940
he directed Wagner's "Die Walkure" at the Bolshoi, and
soon after the opening started work on Ivan the Terrible.
Filming started in April 1943 and it was completed at the end of
1944. In February 1946 he had hurriedly completed part II but was
rushed to hospital with a heart attack. During his long convalescence
Ivan Part II was shown to Stalin. It was denounced at a Central
Committee meeting and not shown publicly until 1958.
After a meeting with Stalin he was given permission to produce
Ivan Part III, but Eisenstein continued could only teach and write
as his health deteriorated. Filming was not resumed. He died on
February 11th 1948, just 50 years old.
His Battleship Potemkin ,with the much copied Odessa Steps sequence,
is recognised as one of the masterpieces of movie history.
I would like to thank Homodok (Netherlands) for their help with
information on Eisenstein.
C. de la Motte-Sherman
 Out of the Past: Gay & Lesbian History
from 1869 to the present day, Neil Miller, Vintage Books London,
 Russia Gay Literature and Culture: The Impact of
the October Revolution in Hidden from History. 1989