Cine cinético. Montaje motor. Revuelta. ¿La imagen-movimiento? ¿Espacio e imagen? Espacio e imagen compartidas. La imagen como una pierna andante, el acorazado y su devaneo constante a través del mar en plena ondulación. Movimiento, espacio-movimiento. Todo se mueve en el Potemkin.
although I did not live that time, but i still feel spirit of rebellion. i think Eisenstein have a poetic language of cinema. Patung singa yang tertidur kemudian menjadi bangun merupakan salah satu intelektual montase yang bisa membius penonton uni soviet (pada masa itu) untuk bangkit dan memberontak.
A movie which almost invents everything about filmmaking. BATTLESHIP POTEMKIN is great cinematic piece from Russia. I think it's also one of the great propaganda movie out there. Watching BATTLESHIP POTEMKIN is like reading a book titled: How to Make Your Movie Legendary Less Than Two Hours. Director Sergei Eisenstein proved that with the right editing and cinematography you can tell everything without dialogue...
Technically, it's brilliant; the editing and cinematography are impressive even for today. It's also quite moving, although it's not hard to make a kid and later his mother getting shot moving. On a narrative level, the plot is coherent albeit sometimes unclear and characters are practically non-existent. The film suffers in pacing due to excruciatingly slow buildup.
Epic Russian silent movie that tell about a pivotal event during the Russian revolution of 1905. The film is full of memorable imagery but the massacre at the massive steps in Odessa is a brutal and excellent edited scene that leave a lasting impact and it is no wonder that the scene with the baby cart has been reused in numerous more modern films since.
I was scared to watch this film a long time. Topic did not interest me but Eisenstein's magical powers of narration made the film a piece of art instead of a boring propaganda film. He didn't avoid to show child deaths so he could easily show the violence of the Bolshevik troops. I didn't get bored once in the film. So clear, so smooth.
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.