New Showbiz

You are here:
Hurray Mexico!

Hurray Mexico!

1932

Director

Sergei Eisenstein

Average Rating

No ratings yet

Synopsis

Unedited film that Sergei Eisenstein, Grigoriy Aleksandrov and Eduard Tisse shot in Mexico 1931-32. This record only represents the 200,000-plus feet of unedited film that Sergei Eisenstein, Grigoriy Aleksandrov and Eduard Tisse shot in Mexico 1931/32 for Mary and Upton Sinclair and three American co-financiers. It was Eisenstein's vision to end up with movie about Mexico in six parts called "Calavera", "Sandunga", "Maguey", "Fiesta", "Soldadera", and "Epilogue". The project was canceled before it was completed due to cost overruns and months-delayed completion, and the producers refused to let Eisenstein attempt to edit anything from the material he had finished after Iosif Stalin called him back to the USSR. From this footage the following pictures were subsequently edited by other hands: Thunder Over Mexico (1933), Eisenstein in Mexico (1933), Death Day (1934), Time in the Sun (1940), and Que Viva Mexico (1979).

Where to Watch

Diversity & Representation

Overall Score

6.7/10

Good

Category Breakdown

LGBTQ+ Representation

Minimal

The unedited footage contains no documented evidence of LGBTQ+ characters or narratives. The documentary focuses on ethnographic and cultural observation rather than identity-based character arcs.

Gender Representation

Fair

The planned 'Soldadera' segment highlights female combatants and participants in the Mexican Revolution. This disrupts passive domestic depictions, though the lack of a completed edit limits the depth of character agency.

Racial & Ethnic Diversity

Excellent

The film centers indigenous and mestizo experiences, providing a powerful counter-narrative to Eurocentric cinema. It celebrates Mexican identity by shifting the lens away from Western-centric norms.

Religious & Cultural Diversity

Excellent

The work uses an anti-colonial framework to document local traditions and social upheaval. It prioritizes the visceral reality of the Mexican landscape over Western-imposed order.

Disability Representation

Minimal

There is no evidence that neurodivergence or physical disabilities are central themes. The ethnographic study does not intentionally represent these specific identities.

Strengths

  • Centering of indigenous and mestizo identities provides a powerful counter-narrative to Eurocentric cinema.
  • The focus on 'Soldaderas' challenges traditional, passive depictions of women in historical contexts.
  • The anti-colonial framework prioritizes local traditions and the visceral reality of the Mexican landscape.

Areas for Improvement

  • The lack of a completed, cohesive edit limits the ability to assess deep character agency.
  • The ethnographic nature of the footage results in a lack of specific identity-based character arcs.

AI Analysis

Eisenstein’s project serves as a vital historical artifact that centers a non-Western culture through a sophisticated cinematic lens. By focusing on the textures and rituals of Mexico, the work actively challenges the Eurocentric perspectives dominant in 1930s global cinema. The film's strength lies in its intentionality to elevate indigenous and mestizo experiences. The planned focus on 'Soldaderas' suggests a desire to portray women as active participants in social upheaval rather than passive figures. However, the unfinished nature of the footage prevents a full assessment of character agency. Without a cohesive edit, the depth of individual portrayals remains tied to ethnographic observation rather than fully realized narrative arcs.

How are these scores produced? →

Rate this Movie

No rating selected
Use arrow keys to select a rating from 1 to 5 stars
Optional text review, maximum 2000 characters
Tip: Wrap spoilers with ||double pipes|| to hide them
0/2000 characters
You must be signed in to submit a rating

Reviews

No reviews yet. Be the first to share your thoughts on this movie!

Use the rating form above to leave a star rating and optional review.