Eduard Tisse

In June of 1941, at the outset of the Nazi invasion of Russia, a group of Soviet servicemen languidly biding their time at the Brest fortress on the Polish border, are suddenly galvanized into action. All desires to return home to their wives and sweethearts are swept aside as the courageous garrison unites to thwart a common enemy.

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An American scientist invents a new weapon of mass destruction - silver dust. Corporate war breaks out between two military industry giants to own the weapon. The scientist dies and his son makes the discovery public with more consequences.

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The young composer Mikhail Glinka performs his new work at a soiree at earl Vielgorsky's house. However, the public is accustomed to Western music, and reacts coldly to the creation of the composer. This makes him very sad, but soon he decides to go learn the art of music in Italy. After returning from Italy, he is full of desire to write national Russian opera. Vasily Zhukovsky proposes a subject: a feat of Ivan Susanin. Tsar Nicholas I change the name of the opera to A Life for the Tsar and assigns a librettist - Baron Rosen. Acquaintance with the future co-author shocked Glinka: Rosen speaks Russian with a noticeable German accent. The premiere was successful, but Glinka was still not entirely happy with the libretto: "False words were written by Rosen". When Nicholas I learned that Ruslan and Lyudmila was written on Pushkin's subject, he sees it as sedition. The bitter experience of the composer brighten his supporters.

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Soviet and American soldiers are meeting on the shores of the Elbe river in Germany in 1945.

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Yugoslav farmer-turned-partisan Slavko Babić starts an uprising against the fascist Germans and their allies.

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Set during the early part of his reign, Ivan faces betrayal from the aristocracy and even his closest friends as he seeks to unite the Russian people. Sergei Eisenstein's final film, this is the first part of a three-part biopic of Tsar Ivan IV of Russia, which was never completed due to the producer's dissatisfaction with Eisenstein's attempts to use forbidden experimental filming techniques and excessive cost overruns. The second part was completed but not released for a decade after Eisenstein's death and a change of heart in the USSR government toward his work; the third part was only in its earliest stage of filming when shooting was stopped altogether.

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Second attempt to create a feature film out of the 200,000-plus feet of film which Soviet film-maker Sergei Eisenstein shot during 1931-32 in Mexico for American socialist author Upton Sinclair, his wife and a small company of investors. The projected film, to be called "Que Viva Mexico", was never completed due to exhaustion of funds and Stalin's demand that Eisenstein return to the USSR (he had been absent since 1929). The first attempt at editing the footage, in the USA, resulted in "Thunder Over Mexico", released in 1934. In 1940, Marie Seton, from the UK, acquired some of the footage from the Sinclairs in an attempt to make a better cutting according to Eisenstein's skeletal outline for the proposed film. This film has apparently been lost.

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When German knights invade Russia, Prince Alexander Nevsky must rally his people to resist the formidable force. After the Teutonic soldiers take over an eastern Russian city, Alexander stages his stand at Novgorod, where a major battle is fought on the ice of frozen Lake Chudskoe. While Alexander leads his outnumbered troops, two of their number, Vasili and Gavrilo, begin a contest of bravery to win the hand of a local maiden.

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During his adventure in Mexico, Sergei Eisenstein made footage of a Mexican "Death Day" celebration for inclusion in his "Que Viva Mexico!" film project. When the 200,000-plus feet of film he eventually exposed in Mexico was first attempted to be made into a feature film, "Thunder Over Mexico", the producers excluded the Death Day material for subsequent compilation as an independent short subject. Silent with music track and explanatory English intertitles.

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As was common in Diaz's Mexico, a young hacienda worker finds his betrothed imprisoned and his life threatened by his master for confronting a hacienda guest for raping the girl. This film is the first of several attempts to make a feature-length motion picture out of the 200,000-plus feet of film shot by Sergei Eisenstein, on photographic expedition in Mexico during 1931-32 for Upton Sinclair and a cadre of private American producer-investors. Silent with music and English intertitles.

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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).

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Romance sentimentale is a 1930 French film directed by Grigori Aleksandrov and Sergei M. Eisenstein. A short, experimental, slightly poetic montage of city and abstract images.

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Footage of the aftermath of the January 14 1931 earthquake in Oaxaca, Mexico.

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This film shows contrasting views of women with problematic pregnancies and the outcomes resulting when they seek out a back-alley abortionist, a trained and licensed abortion provider in a clinic, or an obstetrician capable of performing a Caesarian Section. The full film appears to be lost, but shortened versions, including one with dialogue scenes added in Germany in 1935, can be found on the internet. Additionally, Eisenstein's role in making the picture remains unclear: did he direct some or all of it, just edit it, or merely leave it to Alexandrov and Tisse to make? Released in the USA 1930 in a 65 minute (5800 ft.) version with English intertitles and a music track under the title BIRTH.

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Also known as The Old and the New, The General Line illustrates Lenin’s stated imperative that the nation move from agrarian to industrial culture in an epic ode to farm-collectivization progress.

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Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.

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A dramatized account of a great Russian naval mutiny and a resultant public demonstration, showing support, which brought on a police massacre.

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The story of a Jewish entrepreneur ins Tsarist Russia always look for a get rich quick scheme.

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Workers in a factory in pre-revolutionary Russia go on strike and are met by violent suppression.

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Dziga Vertov-directed Soviet newsreel made to commemorate the first anniversary of the death of Vladimir Ilich Lenin (21st January 1924 - 1925) drawn from 'The Final Journey', a Pravda feuilleton written on the occasion of Lenin's funeral by the man who had introduced Vertov to cinema, Mikhail Koltsov. Contains: First anniversary of Lenin's death: 1. Assassination attempt on Lenin and Soviet Russia's progress under his leadership / 2. Lenin's illness, death and funeral / 3. The year after Lenin's death

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Konstantin Eggert both directed and starred as Count Shemet, cursed by his insane mother’s traumatic experience with a bear to have seizures during which he himself becomes a “bear” on the kill.

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A down on his luck peasant goes to fight in World War I and returns home a hero. Partially lost.

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