During his time in France, in the early days of the talkies, Eisenstein partially completed a short film entitled Romance sentimentale, one of the earliest attempts at audiovisual construction. The nuts and bolts of this construction, which for him was the ultimate expression of cinematic art, went on to command his full attention from then onwards. But we will forget this failed attempt, which he abandoned to his assistant, Alexandrov, following several decidedly tempestuous days of shooting. The film was sponsored by the singer Mara Giry (or her representative), and the lady wanted to be seen and to be heard. She is seen at the piano, weeping as she contemplates the rain – cue mournful music. Oh, Eisenstein’s mimicry of the sobbing mistress of the arpeggio, as she cooed, distraught over her lost love – it was hilarious. He told me after abandoning the film: “Tissé and I shot some pleasing autumnal images in keeping with the romantic, sentimental tone of the music. They fit the bill perfectly, but the rest… schmaltz.” Indeed it was: a piano set among the clouds, white greyhounds, garlanded flowers and lighting flashes to the sound of crashing cymbals.

Jean Mitry, S. M. Eisenstein, Éditions Universitaires, Paris 1956