A perfect example of what cinema can give to human perception, this film is not only full of astonishing images and compositions, but the editing techniques are used to perturb the viewer. Eisenstein has the ability to translate the fundamental meaning of communism into cinema. He gives dignity and value to proletarian society and ridicules capitalist power.
Hard to believe this to be a debut film. The pioneering editing, the perfect timing, the brilliant cinematography would suggest years of experience –a literal master-piece, not a beginner's work at all. Absolute control of the medium. The script is sometimes dull, but that's not the reason why you're watching this movie. Shame for the scene of the cow slauthering, a barbarity that has nothing to do with Art.
Motion! The film is a chaotic churning, an ocean of workers. It is amazing how story can surface with only image, music and some title inserts. I am unsure of the exact historical context of the film other than what it portrays, though I loved how full of energy the film was from start to finish. The scenes in the rain were spectacular. The finale was unforgettable. The scale of the set piece is almost unbelievable.
I found Eisenstein's first major film much more relatable than the equally ingenious "Potemkin". Forceful pictures illustrate the violent suppression of a strike of factory workers for better working conditions. Eisenstein brought on a revolution in film making and in "Strike" this revolution is rendered comprehensible even for a modern audience.
Vivid, empowering, evocative. This kind of powerful film keeps one on the edge of his seat more than any modern action film. Eisenstein clearly did not have to take several shots to achieve brilliance; his genius already resonated from his debut.
You will like this movie only if you are interested in the invention of Cinema as Art, back when film and music video were the same thing, and technicolor was still decades away. Someone please show me a superior scene than the crowd-running-through-a- factory shot, featured, in glorious b&w, early in Eisenstein's STRIKE.