By Julio di Risio
"The formalist film is directed only to the excitement, while the intellectual montage gives way to process of thought "Sergei Eisenstein
Montevideo, summer of 54
was a very hot afternoon and the rain was coming, you could smell. Missing one or two blocks to get to the room SODRE. I would love to go there before returning to Buenos Aires. The sky darkened and began falling in thick drops. A few seconds later, as heavy rain fell on the stairs, a guard watching the billboards: one cycle a week commemorating the death of SM Eisenstein, who until then had only heard about. Excellent opportunity.
A presenter on stage reading a profile of director: "In the early hours of February 11, 1948, in his office writing a paper on color film, Eisenstein SM dies without having been released the second part of" Ivan ", banned by Stalin." Towards the end, an introduction to "The Battleship Potemkin" open cycle.
The heavy curtains were pulled back to the terrible screeching of the lack of fat. Some big titles in Russian, recorded with big characters, announced as the presenter that resulted from the side of the stage: "A film by SM Eisenstein," Battleship Potemkin. " Try to abstract from all the times I saw this movie, some for pleasure, analyzing other assembly, leaving me by that strange thrill that gave me those images gray and silent for many years.
The distant sound of the projector and falling of rain on the tin roof of the hall were the only sounds that accompanied those angry sailors who refused to eat the wormy soup. An officer apparently gesturing something serious. A poster and sounds of the projector and rain are cut by the commentator: "Tapen the rebels with a tarp and fusílenlos." Peers are reluctant to shoot. Another sign: "Brothers!". The soldiers turn their guns and fired on the officers. In the bloody battle that takes place on deck drops dead the leader of the rebellion.
sounds of rain and the projector that had disappeared by the intensity of the action, returning with a title: "Odessa."
The port of Odessa. The town next to the crew of the Potemkin, mourns the death of the leader. Voices are being raised fists and moving toward the grand staircase. The commentator translates it: "The soldiers fired on the defenseless people." A mother with her injured son in his arms up to them asking: "Do not shoot, my son is hurt. Do not shoot. " The soldiers are facing down and firing on women and children left lying on the steps. A baby stroller is precipitated quickly through the steps. More shots, people running, rolling, falling. The rain has stopped while listening very clearly the voice of the commentator: "The night of waiting."
Now only the distant sound of the projector flashes accompany the scenes of the crew waiting. The picture closes slowly to black. It is morning and attended the meeting of a ship of the fleet with the battleship, cannon plans are ready to shoot, sailors running up the iron stairs, busy times in the engine room. The commentator, with the noise of order and save your papers to go, release the tension in the raised giggles. Concludes with a final sign: "Brothers!". In this last scene the squad refuses to shoot. There are hugs of joy and tears of emotion. The word "Konek" and the raucous curtain closes on the monumental film.
a while I was sitting, looking at where all that had happened. Already in the hall, I looked carefully at each picture of the film. I thought to take one, but did not dare. I wanted to save, preserve a moment, not realizing that each one of them would accompany me all my life.
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