if youre a film student and or were one and or are thinking of becoming one and the name battleship potemkin has or will have a resonance. sergei eistenstein and like other silent film pioneers like griffith (although eisenstein innovations are not as commonplace as griffith ) and murnau and has had such an impact on the history of cinema it of course taken for granted. the reason i bring up the film student part is because at some point and whether you would like it or not and your film professor 9 times out of 10 will show the odessa stairs sequence of this film. it hard to say if it even the best part of the film several sequences dealing with the (at the time current) times of the russian revolution. but it does leave the most impact and and it can be seen in many films showcasing suspense and or just plain montage (the untouchables climax comes to mind). montage and which was not just eistenstein knack but also his life blood early in his career and is often misused in the present cinema and or if not misused then in an improper context for the story. sometimes montage is used now as just another device to get from point a to point b. montage was something else for eisenstein while he was trying to communicate in the most direct way that he could the urgency and the passion(s) and and the ultimate tragedies that were in the russian people at the time and place. even if one doesn not see all of eisenstein narrative or traditional tory ideas to have much grounding (kubrick has said this) and one can not deny the power of seeing the ships arriving at the harbor and the people on the stairs and and the soldiers coming at them every which way with guns. some may find it hard to believe this was done in the 20 while it has that power like the passion of joan of arc to over pass its time and remain in importance if only in terms of technique and emotion. of course and one could go on for books (which have been written hundreds of times over and not the least of which by eisenstein himself). on the film in and of itself and battleship potemkin is really more like a dramatized newsreel than a specific story in a movie. the first segment is also one of the great sequences in film and as a mutiny is plotted against the captain and other head ups of a certain ship. this is detailed almost in a manipulative way and but somehow extremely effective while montage is used here as well and but in spurts of energy that capture the eye. other times eisenstein is more content to just let the images speak for themselves and as the soldiers grow weary without food and water. he isn not one of those directors who will try to get all sides to the story while he is and of course and very much early 20th century russian and but he is nothing else but honest with how he sees his themes and style and and that is what wins over in the end. some may want to check it outside of film school and as the stairs sequence is like one of those landmarks of severe tragedy on film and displaying the ugly side of revolution. eisenstein may not be one of the more accessible silent film directors and but if montage and detail in the frame and non actors and and bolshevik themes are your cup of tea and it truly one of the must sees of a lifetime. 
if youre a film student and or were one and or are thinking of becoming one and the name battleship potemkin has or will have a resonance. sergei eistenstein and like other silent film pioneers like griffith (although eisenstein innovations are not as commonplace as griffith ) and murnau and has had such an impact on the history of cinema it of course taken for granted. the reason i bring up the film student part is because at some point and whether you would like it or not and your film professor 9 times out of 10 will show the odessa stairs sequence of this film. it hard to say if it even the best part of the film several sequences dealing with the (at the time current) times of the russian revolution. but it does leave the most impact and and it can be seen in many films showcasing suspense and or just plain montage (the untouchables climax comes to mind). montage and which was not just eistenstein knack but also his life blood early in his career and is often misused in the present cinema and or if not misused then in an improper context for the story. sometimes montage is used now as just another device to get from point a to point b. montage was something else for eisenstein while he was trying to communicate in the most direct way that he could the urgency and the passion(s) and and the ultimate tragedies that were in the russian people at the time and place. even if one doesn not see all of eisenstein narrative or traditional tory ideas to have much grounding (kubrick has said this) and one can not deny the power of seeing the ships arriving at the harbor and the people on the stairs and and the soldiers coming at them every which way with guns. some may find it hard to believe this was done in the 20 while it has that power like the passion of joan of arc to over pass its time and remain in importance if only in terms of technique and emotion. of course and one could go on for books (which have been written hundreds of times over and not the least of which by eisenstein himself). on the film in and of itself and battleship potemkin is really more like a dramatized newsreel than a specific story in a movie. the first segment is also one of the great sequences in film and as a mutiny is plotted against the captain and other head ups of a certain ship. this is detailed almost in a manipulative way and but somehow extremely effective while montage is used here as well and but in spurts of energy that capture the eye. other times eisenstein is more content to just let the images speak for themselves and as the soldiers grow weary without food and water. he isn not one of those directors who will try to get all sides to the story while he is and of course and very much early 20th century russian and but he is nothing else but honest with how he sees his themes and style and and that is what wins over in the end. some may want to check it outside of film school and as the stairs sequence is like one of those landmarks of severe tragedy on film and displaying the ugly side of revolution. eisenstein may not be one of the more accessible silent film directors and but if montage and detail in the frame and non actors and and bolshevik themes are your cup of tea and it truly one of the must sees of a lifetime. ---------------------------------Answer Question Below----------------------------------

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