For the unfinished filming of the "novel" of Soldadera , without incurring any cost, Eisenstein had secured 500 soldiers, 10,000 guns, and 50 cannons from the Mexican Army,  but this was lost due to Sinclair's cancelling of production. When Eisenstein arrived at the American border, a customs search of his trunk revealed sketches and drawings of Jesus caricatures amongst other lewd pornographic material.   His re-entry visa had expired,  and Sinclair's contacts in Washington were unable to secure him an additional extension. Eisenstein, Aleksandrov, and Tisse were allowed, after a month's stay at the .-Mexico border outside Laredo, Texas , a 30-day "pass" to get from Texas to New York,  and thence depart for Moscow, while Kimbrough returned to Los Angeles with the remaining film.
Kino-eye, composed of various newsreel correspondents, editors, and directors, also took indirect aim at montage as the overarching principle of cinema. Kino-eye was interested in capturing life of the proletariat and actualizing revolution, and was accused by Eisenstein of being devoid of ideological method. Films like Dziga Vertov’s The Man with a Movie Camera utilized montage (almost all films did at the time), but packaged images without discernible political connection between shots. Vertov, on the other hand, saw the fictional revolutions represented in Eisenstein's films as lacking the visceral weight of unscripted action.
After . Griffith, the most important figure in the history of the international cinema is Sergei Eisenstein. Both men died in 1948, but Eisenstein left a double legacy: not only was he one of the greatest filmmakers of all time, but he was also a magnificent film theorist, perhaps the most important one ever. This book of his essays, superbly translated and edited by Jay Leyda, reprints some of his most vital writings on the art of the cinema, including articles on the language and structure of the movies, the differences between theater and film, and the author's efforts to adapt Theodore Dreiser's An American Tragedy for the screen. In "The Cinematic Principle and the Ideogram," Eisenstein analyzes the written symbols of the Japanese language as a model for film editing. "Dickens, Griffith, and the Film Today," one of the author's most famous pieces, speaks of Griffith as a Dickensian director and then argues for a kind of filmmaking that transcends Griffith's literal style in order to touch its audience on an ideological and metaphorical level. This volume also includes the notorious "statement" on sound movies, which argues against the use of synchronous sound and in favor of jarring, contrapuntal audio that Eisenstein believed would add new dimensions to the talking picture. Idiosyncratic, engrossing, and brilliant, Eisenstein's essays will inspire you to reevaluate everything you thought you knew about the movies. ( Review )