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.
"Those aren't worms..." said the Dr., looking up from the worm-ridden meat. "They're alternative facts!" And the people rose up against the gaslighting, authoritarian regime with its obsession with power at any cost. And the people joined together and punched racists in their faces and were all like #resist!. And the regime was brutal but, ultimately, the true power was with the masses. Also, montage! The End.
3-4. Setting aside the editing and the Odessa steps sequence, I actually think the film is at its most engaging fairly early on. I think the film might get a little too swallowed up in emphasizing the common people's rebel spirit and contrasting it with that of the government. The final twist seems maybe a bit too caught up in making its point, rather than delivering actual conflict between ship and squadron.
The Odessa steps sequence is worth seeking this one out alone. The rest is a bit by the numbers, but good in a propaganda sort of way lol. I was rooting for the shipmates to mutiny all the way. Some cool visuals here, and introduced the montage to cinema. Film history 101, if perhaps not the most engaging storyline. Must see.
Not much to add to what I wrote about Strike – Eisenstein's genius is clear in each and every frame. I preferred the first one, though: its narrative strutture is more solid, and besides the ingenuity it's a slightly more sincere portrayal of the dynamics between the workers. Here the pacing is not perfect, a few scenes are too dilated by editing. Nonethless, we're talking about a landmark in the history of Cinema.
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.
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.
Sobretudo um grande trabalho de montagem. Peca no que pecam muitos filmes da época (e ainda hoje)- não se conseguir desviar da vertente ideológica predominante (sem a qual, no entanto, muito provavelmente não sairia) que o torna um bocado enjoativo em certos momentos