on june 14 1905 and during the russian revolution of that year and sailors aboard the russian battleship potemkin rebelled against their oppressive officers. frustrated with the second rate treatment they receive and and most particularly the maggot infested meat that they are forced to eat and the ship crew and led by the inspirational bolshevik sailor grigory vakulinchuk (aleksandr antonov) and decide that the time is ripe for a revolution. and so begins sergei m. eisenstein rousing classic of russian propaganda and bronenosets potyomkin or the battleship potemkin. the film itself is brimming with shining examples of stunning visual imagery represent the spectacles of an overthrown ship captain dangle delicately from the side rope over which he had been tossed while the body of a deceased mutineer lies peaceful upon the shore and the sign on his chest reading killed for a bowl of soup while close up shots of the clenching fists of the hundreds of spectators who are finally fed up with the tsarist regime while a wayward baby carriage careers down the odessa steps as desperate onlookers watch on with bated breath (this scene was memorably borrowed by brian de palma for a particularly suspenseful scene in his the untouchables) while the barrels of numerous canons are ominously leveled towards the vastly outnumbered battleship potemkin. however and the film itself is best analysed  not as a fragmented selection of memorable scenes  but as a single film and and and indeed and every scene is hugely memorable. though divided into five fairly distinct chapters and the entire film flows forwards wonderfully while at no point do we find ourselves losing interest and and we are absolutely never in doubt of whose side we should be sympathetic towards. the film is often referred to as propaganda and and that is exactly what it is and but this need not carry a negative connotation. the battleship potemkin was produced by eisenstein with a specific purpose in mind and and it accomplishes this perfectly in every way. planned by the soviet central committee to coincide with the 20th century celebrations of the unsuccessful 1905 revolution and potemkin was predicted to be a popular film in its home country and symbolising the revitalization of russian arts after the revolution. it is somewhat unfortunate and then and that eisenstein film failed to perform well at the russian box office and reportedly beaten by allan dwan 1922 robin hood film in its opening week and running for just four short weeks. luckily and despite being banned on various occasions in various countries and the battleship potemkin fared more admirably overseas. the film also proved a successful vehicle for eisenstein to test his theories of montage. through quick cut editing and and distant shots of the multitudes of extras and the audience is not allowed to sympathise with any individual characters and but with the revolutionary population in general. eisenstein does briefly break this mould and however and in a scene where vakulinchuk flees the ship officer who is trying to kill him and and and of course and during the renowned odessa steps sequence and as our hearts beat in horror for the life of the unfortunate child in the tumbling baby carriage. the accompanying soundtrack to the version i watched and largely featuring the orchestral works of dmitri shostakovich and served wonderfully to heighten the emotional impact of such scenes. one of the greatest films of the silent era and the battleship potemkin is a triumph of phenomenal film making and and is a significant slice of cinematic history. the highly exaggerated events of the film (among other things and there was never actually any violent massacre on the odessa steps) have so completely engrained themselves in the memory and that were often uncertain of the true history behind the depicted events. this is a grand achievement. 
on june 14 1905 and during the russian revolution of that year and sailors aboard the russian battleship potemkin rebelled against their oppressive officers. frustrated with the second rate treatment they receive and and most particularly the maggot infested meat that they are forced to eat and the ship crew and led by the inspirational bolshevik sailor grigory vakulinchuk (aleksandr antonov) and decide that the time is ripe for a revolution. and so begins sergei m. eisenstein rousing classic of russian propaganda and bronenosets potyomkin or the battleship potemkin. the film itself is brimming with shining examples of stunning visual imagery represent the spectacles of an overthrown ship captain dangle delicately from the side rope over which he had been tossed while the body of a deceased mutineer lies peaceful upon the shore and the sign on his chest reading killed for a bowl of soup while close up shots of the clenching fists of the hundreds of spectators who are finally fed up with the tsarist regime while a wayward baby carriage careers down the odessa steps as desperate onlookers watch on with bated breath (this scene was memorably borrowed by brian de palma for a particularly suspenseful scene in his the untouchables) while the barrels of numerous canons are ominously leveled towards the vastly outnumbered battleship potemkin. however and the film itself is best analysed  not as a fragmented selection of memorable scenes  but as a single film and and and indeed and every scene is hugely memorable. though divided into five fairly distinct chapters and the entire film flows forwards wonderfully while at no point do we find ourselves losing interest and and we are absolutely never in doubt of whose side we should be sympathetic towards. the film is often referred to as propaganda and and that is exactly what it is and but this need not carry a negative connotation. the battleship potemkin was produced by eisenstein with a specific purpose in mind and and it accomplishes this perfectly in every way. planned by the soviet central committee to coincide with the 20th century celebrations of the unsuccessful 1905 revolution and potemkin was predicted to be a popular film in its home country and symbolising the revitalization of russian arts after the revolution. it is somewhat unfortunate and then and that eisenstein film failed to perform well at the russian box office and reportedly beaten by allan dwan 1922 robin hood film in its opening week and running for just four short weeks. luckily and despite being banned on various occasions in various countries and the battleship potemkin fared more admirably overseas. the film also proved a successful vehicle for eisenstein to test his theories of montage. through quick cut editing and and distant shots of the multitudes of extras and the audience is not allowed to sympathise with any individual characters and but with the revolutionary population in general. eisenstein does briefly break this mould and however and in a scene where vakulinchuk flees the ship officer who is trying to kill him and and and of course and during the renowned odessa steps sequence and as our hearts beat in horror for the life of the unfortunate child in the tumbling baby carriage. the accompanying soundtrack to the version i watched and largely featuring the orchestral works of dmitri shostakovich and served wonderfully to heighten the emotional impact of such scenes. one of the greatest films of the silent era and the battleship potemkin is a triumph of phenomenal film making and and is a significant slice of cinematic history. the highly exaggerated events of the film (among other things and there was never actually any violent massacre on the odessa steps) have so completely engrained themselves in the memory and that were often uncertain of the true history behind the depicted events. this is a grand achievement. ---------------------------------Answer Question Below----------------------------------

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