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"YORUBA!" cried Mikhail Kalarozov's assistant, proud to know the
African name of Sarita's ancestors. The immortal author of The Cranes
 Are Flying was in Havana shooting an unlikely film with the antithetical title
Soy Cuba, and the brigades of prostitutes around the big hotels had been
recruited to supply the debauchery scene with competent walk ons. Sergei
Urusevsky was master of the set: when he took hold of the 35mm and
plunged through the bamboo curtains for one of his dizzying spin shots, he
. brought to life before our eyes the generation of Men with a Camera,
Mikhail Kaufman holding the Debrie and its tripod in one hand on the top
of a factory smokestack in Vertov's films. Kalatazov watched him work and
said "Karacho!" The young Cuban filmmakers came to the studio by turns to
contemplate the master at work, to gawk at the beautiful mestizas in the
buff, and to conclude that cinema really was a great thing. Sarita had a
wonderful time.