Lenin Alive (1970) is a documentary produced
with all audio and visual
existing ties to the figure recorded Vladimir Lenin.
The short movie, thirty-one minutes, was a custom
Partito Comunista Italiano
with occa-sion of the centenary of the birth of co
political leader, and was produced by Unitel film, the producer of the game
. Jorda co-directed the movie "
Cula with Gianni Toti, a poet and film critic
friend.
The film, whose original version is Italian,
begins with a political speech of Lenin with
black screen. Then, the voice that we
guide you through all the footage
indicates that this is a speech by Lenin in Moscow's Red Square
, the first of three phono
documents that remain from his voice. A continuous-
nuación begins a brief review of
political biography, first with photos
commented by the voice-over, then with a montage of archive material
without sound to illustrate the time-
saw saw, the Russia, 1870.
After the introduction, in the fourth minute
about the screen goes black
staying in the voice and presents what
constitute the main body of the film with these words:
''Lenin hated the cult as revolutionary leader.
modesty offer visual testimony
his life, and so, on the centenary of his birth to
, presented without any manipulation of film fragments twenty-two
WVO Lenin.''Promised fragments offered orderly - Swim
chronologically. Each is
preceded by a sign indicating the date.
on this poster, the voiceover provides a brief summary of
images presented below
such as were filmed without any tweaks.
To make the documentary, the filmmakers Pidie-
Moscow were all
material they had on Lenin. Upon receipt and custody-
visionary mind, they realized that the material had been manipulated
. If Lenin had a movie-plane
do the arm as he spoke from a podium,
rode this act once again.
used a shorter frame of the plane or made
obliterated the image of Trotsky that appeared in the
shot when he went to a shorter one. Jorda and Toti
proposed
restore the material and leave it as they thought originally
was shot:''My task was to restore
of reality filmed in the respondent's return
dre original posed in restitution
film and historical truth''(Jordan, 1992: 59).
The first fragment is the first visual
May Day Soviet Revolution (i
May 1918) and the last data
30 October 1922. The set of all documents
covers a period of four years and five months of
Lenin's life. Of the twenty documents,
twenty are visual, one is voiced and one is visual and sound
at a time. Apart from some
First of May and
anniver-sary of the Revolution, the film offers images of Lenin
in the gardens of the Kremlin, several
inaugurations of monuments, funeral drapers com-
politicians, speeches and conferences of the Communist Inter-national
.
Approximately twenty minutes into the pe-
follicle and dated 1920, the documentary includes
the only sequence shot in the family of
Lenin. The first images are the co-
have to be renovated and a room, consisting of a single
bed, a nightstand and a desk. A
then we see Lenin sitting beside his wife
. While talking, patting with affection a cat
lying on her lap.
The year 1922 is illustrated with three fragments. The first is
the 20th of May. The voice explains that Lenin
is sick and
images show a spa where the leader has withdrawn
to recover. On October 2
returns to Moscow. The doctor reduced the working hours of political
11 am to 2 pm and
6 to 8 pm, a time that Lenin is
difficult to meet. The last images of Lenin
live in the twenty-seventh minute short movie,
under Lenin in his study
on 30 October. The voiceover explains that the doctor has forbidden
work. Around
minutes twenty-eight, was stained
black screen on the last image of Lenin
and wrap to hear, as
the beginning of the film, the political voice of a speech
saying so. This is the third piece phonograph that incorporates
film. Still black screen
, the same voiceover that accompanied us so far
us what will be the third liltima
wax and part of the documentary:''unique poetic frag-ment
vivo di Lenin ('The
poetic single piece live Lenin)''is a poem is "
described by Lenin in 1907 that, in the film, reads
Italian translation:''Gli anni degli
uragani''('The years of the storm'). With the lessons of the poem
background structure is projected a montage of images
revolution of the sixties
ta. The latter part of the documentary meant to
Jordà final rupture relations with the Parti-
to Communist:''There
had a serious clash with the PCI
censorship. The phrase 'In East suns arise,' he accompanied
pan vertically below
up on Mao Tse-Tung. Responsible ideo-logical
turn, a very high torque-
hierarchy sense, endeavored to convince me to take it away, because this displacement
up per-judice, the international politics of pci.
I insisted on keeping it, or you removed them,
that those were the producers. Pac-
solution Tada was converted into the fixed plane pan.
Godard was right''(Jordan, 1992: 59).
Finally, the current copy
not include the image of Mao, or with pan or without it.
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