This film is Eisenstein's masterpiece in terms of editing, sequence timing and narration. It has a perfect use of the image, not to impact the viewer's eye but to narrate the things that happened. Maybe the best thematic story can be made into a film in the twentieth century era. The last scenes are in my opinion the most intense and powerful in the entire history of cinema.
The fact that this is the kind of propaganda that is very much the opposite of our current viewing habits, certainly makes it harder to assess the artistic quality of this film. Without any doubt though, it is just amazing how absorbing the pictures are. This geezer won't bite the dust any time soon, that much is clear.
A milestone of Soviet film as well as the Silent Era that has carried on a legacy through film and visual art. Its political allegory as well as use of propaganda sparked not just a revolution within a society but also in cinema. In Odessa there is a unique monument that pays tribute to the sailors, but "the image of heros does not come from life however transparent" as Chris Marker says but straight from the film.
There's a reason why this film is so talked about. Rather than the more or less confusing approach Eisenstein took for Strike (1925), he goes for a more coherent yet completely well-told plot in the iconic Soviet Montage fashion. This film presents all you need to know about Eisenstein. The conflicts, the social commentary, the editing style, the patterns and camera angles: Everything. A masterpiece of classic cinema
The film is full of masterly handled filmic techniques - and not only in the Odessa step sequence. If you take Edmund Meisl's music into consideration, the sequence from 1:03:00 is a masterpiece of audiovisual design: The orchestra playing a slightly variated loop that resembles a stylized stomping of the machines getting faster and faster until it reaches the climax while Eisensteins montage serves as counterpoint.
I cannot explain how influential Sergei Eisenstein's Battleship Potemkin has been during the course of the last eighty years. Eisenstein's use of montage is extraordinary, flashing from one idea to another, and back again so quickly that you don't even realize that it is happening! The intensity from scene to scene is truly unforgettable.