And Eisenstein's appreciation of a certain kind of male beauty is certainly upfront, no close-reading necessary.
The face of the male singer in the clip -- the one that appears from behind the woman's mask -- is extraordinary. So many of Eisenstein's faces remind me of German expressionist films -- very stylized, intended to show character, not to reflect subtle changes in emotion. When a character IS in conflict, you see it in big dramatic movements of eyes, mouth.
young man's face is angelic and masculine at the same time. Feelings seems to pass over it; you have to look closely. It's seductive and slightly scary at the same time.
The Paris Opera Ballet version of the ballet -- on dvd with Nicolas Le Riche -- doesn't try to reproduce Eisenstein's expressionism or color palate. Paris in recent years seems to favor a generic look in its full-length ballets: sleek; subtly colored; gorgeously lighted (oftenin tints of blue). The effect is of a plusher, more glamourous Russia, and an Ivan who is more founded (less angular) and more human.
I could find only one clip from the POB version. Unfortunately, it's from a different part of the story , and thus doesn't allow for a direct comparison with innopac's clip. But you can get an idea of how Ivan and his world "look" from the perspective of the Palais Garnier.