Eisenstein's first sound film, shot in Paris, "built around an old Russian love song sung by the wife of the man who commissioned the film. The song is paralleled by an intercutting of shots of nature, beginning with a...展开storm at dusk, dissolving into a moody rain at night, and jubilantly bursting through the next morning's daybreak in the resplendent sunlight. The black grand piano the singer played now is a white one ... her sadness is now joy, and no longer is she in that closed-in chateau, but out in the open, in a field rapturous with grain swaying heavily in the wind as the song ends."
"Romance Sentimentale," which Eisenstein created with collaborators Alexandrov and Tisse in 1930, just prior to making Que Viva Mexico! In some respects it's an Eisensteinian Fantasia, combining image and music (a famous Russian love song) to create a visual tone poem. Even more impressive, in terms of Eisenstein's passion as a political storyteller, is the rare 20-minute excerpt from Misery and Fortune of Woman, which dramatizes the plight of European women seeking abortions under oppressive conditions. It's a small, gut-wrenching masterpiece, and hasn't lost a bit of its relevance.