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Atter giving way to the brooding reality of what happens when people achieve power over their oppressors. each of the three films is presented in a separate platter and each comes with a number of satisfyng extra features. alexander nevsky includes a 26-minute `reconstruction' of eisenstein's very bizarre and intriguing `lost film, ' bezhin meadow. when the 1935 film was destroyed, two frames from each shot were preserved. they are presented in montage, with intertitles though it was to have been eisentein's first sound film ; , to the music of prokofiev. with enough exposure to eisenstein's other movies, you can imagine what the rhythm might have been like, and the cinematography appears captivating. n a pastoral setting, the film is about a young boy who informs upon his father, assists in the achievements of his local collective, helps put out an exciting fire, participates in the transformation of a church o a community center, and attends to the fields with other kids at night, where he is eventually murdered by his father, with christ-like overtones. it is an intriguing piece that becomes more fascinating and resonant every time you watch it, even in this sadly desperate state. some great production photos accompany the film, along with several essays, including a couple embarrassing pieces by eisenstein, who had to denounce the movie and himself before he could get on with his career. nevsky is accompanied by a commentary track from david borwell. although it is in the same cholarly form as tsivian's track on strike, it is richer, with more insight and connections. borwell talks about the background of the project, how it was staged, what its intentions were, and he decodes many of the image compositions. he discusses the characters and how they were interpreted in eisenstein's day. along with production stills and eisenstein's production drawings, the dvd also contains a good 23-minute documentary about eisenstein's collaboration with prokofiev. the documentary looks at how the collaboration was beneficial to both men's careers, how both were strongly influenced by walt disney whom both had met ; , and about their philosophy regarding film music, as well as breaking down individual sequences as eisenstein did in a famous essay about the film's music. the documenary also acknowledges how poorly the score was recorded, by, "the worst sound system available in any major film producing company in the world." it also suggests that the track used on the film was ust a temporary rehearsal track, which was locked into place after stalin said he liked the movie no one dared to change it after that ; . accompanying ivan the terrible part i, along with more photos and eisenstein's drawings, are 33 minutes of interesting deleted scenes a longer version of the prolog, originally intended for part i, hat ended up as a flashback in part ii instead, plus some other odds and ends, as well as a surviving piece of preparation for `part iii' ; and a 38-minute documentary about both part i and part ii and what part iii' would have been like ; , by joan neuberger, who discusses the film's production history, its hisorical background, and its meanings. "ivan the terrible is a film structured by dualisms, reversals and mirrors because it tells a story rooted in contradictions and filled with divided souls, " she says in conclusion, "ivan the terrible, though never finished, and riddled with compromises, is a great movie because it repeatedly challenges our expectations and asks us to understand how the best and worst aspects of the human condition can co-exist." accompanying the 85-minute part ii is another 34-minute documentary, by tsivian, that is specifically about the film's imagery, the one topic that neuberger does not explore in detail. even if you've seen the movies a dozen times, tsivian's revelations are eye-opening as he demonstrates how eisenstein mirrors his compositions for symbolic effect and identifies the various motifs to be found in what he suggests is one of the richest collections of visual metaphors ever created. "some people even claim it to be the most complex movie ever made, not because the story it tells is complicated, but because that story unfolds on so many levels at once." and neither he nor neuberger ever mention directly what seemed quite striking to us--the doorways in the film that are all too short for the characers, who, including the hero, must bend down to pass through them. surely, it is a pronounced eminder of the subjugation eisenstein and his comrades were encountering at every turn. the pathology of suicidal glory recorded several months ago, paul schrader's opening remarks in his director's commentary rack for mishima, a warner home video release 11530, ; , turn out to be highly relevant to current and no deposit online casino.
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