Eisenstein's foray into the West made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear.
He apparently spent some time in a mental hospital in Kislovodsk in July 1933, ostensibly a result of depression born of his final acceptance that he would never be allowed to edit the Mexican footage.
He was subsequently assigned a teaching position at the State Institute of Cinematography where he had taught earlier, and in 1933 and 1934 was in charge of writing the curriculum.

In 1935, Eisenstein was assigned another project, Bezhin Meadow, but it appears the film was afflicted with many of the same problems as ¡Que viva México!.
Eisenstein unilaterally decided to film two versions of the scenario, one for adult viewers and one for children; failed to define a clear shooting schedule; and shot film prodigiously, resulting in cost overruns and missed deadlines.
Boris Shumyatsky, the de facto head of the Soviet film industry, called a halt to the filming and cancelled further production.
What appeared to save Eisenstein's career at this point was that Stalin ended up taking the position that the Bezhin Meadow catastrophe, along with several other problems facing the industry at that point, had less to do with Eisenstein's approach to filmmaking as with the executives who were supposed to have been supervising him.
Ultimately this came down on the shoulders of Shumyatsky, who in early 1938 was denounced, arrested, tried and convicted as a traitor, and shot.
Eisenstein's foray into the West made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear. He apparently spent some time in a mental hospital in Kislovodsk in July 1933, ostensibly a result of depression born of his final acceptance that he would never be allowed to edit the Mexican footage. He was subsequently assigned a teaching position at the State Institute of Cinematography where he had taught earlier, and in 1933 and 1934 was in charge of writing the curriculum.
In 1935, Eisenstein was assigned another project, Bezhin Meadow, but it appears the film was afflicted with many of the same problems as ¡Que viva México!. Eisenstein unilaterally decided to film two versions of the scenario, one for adult viewers and one for children; failed to define a clear shooting schedule; and shot film prodigiously, resulting in cost overruns and missed deadlines. Boris Shumyatsky, the de facto head of the Soviet film industry, called a halt to the filming and cancelled further production. What appeared to save Eisenstein's career at this point was that Stalin ended up taking the position that the Bezhin Meadow catastrophe, along with several other problems facing the industry at that point, had less to do with Eisenstein's approach to filmmaking as with the executives who were supposed to have been supervising him. Ultimately this came down on the shoulders of Shumyatsky, who in early 1938 was denounced, arrested, tried and convicted as a traitor, and shot.
Sergei Eisenstein