BATTLESHIP POTEMKIN (1925)

Consider this historical notion, that people were bound to their class they were born in Russia when the story of Battleship Potemkin took place.  For example, children who were born into farming families had to be farmers too.  Over several generations families had split up their land and when their children inherited the land it had diminished in size.  Over centuries, the land diminished to such a small size that it no longer provided the means to provide for a family.  Lack of income, starvation, and famine forced the farmers to seek work elsewhere while law forced them to remain farmers.  The rich bought their land cheap while forcing them to continue to farm the land that they no longer owned.  In a sense, it was a form of social slavery enforced through laws made by the tsar.

“Revolution is war. Of all the wars known in history it is the only lawful, just, and truly great war... In Russia this war has been declared and begun."  This statement by Lenin was made in regards to a rebellion on a battleship in the Black Sea, as he wanted to point out that the soldiers would join in the revolution.  In the backdrop of this notion, it should be known that Western society had transformed through several revolutions to what it is today's society.  Some of the revolutions have been calm considering the blood that has flown in many other revolutions such as the French revolution when countless people were decapitated by the guillotine.  Even the United States had its war for independence, which in essence was a revolution against the British who overtaxed the people in the New World.  In light of history, most people can relate to the soldiers on the Potemkin.

Eisenstein offers an experience, which in itself, is a cinematic revolution, as he utilizes montage and editing in a way that had never been done before.  Even today, filmmakers use Eisenstein’s editing technique, which helps augment emotions and the meaning of the situation.  Several scenes display a number of ideas through a montage where the audience can observe a number of powerful symbols in regards to the uprising.  However, the editing would not be what it is if it was not for the tempo of the editing.  The tempo generates a rhythm for each image in a timely fashion, which strikes the retina of the audience at the right moments to provide the strongest possible affect on the audience. 

The Soviet regime, more or less, instructed Sergei Eisenstein to make Battleship Potemkin, as they wanted to have a document that supported the Communist revolution.  Eisenstein’s editing method induces vivid realism, as each scene is brought to life.  In essence, what Eisenstein does is to make it very realistic, which enhances the visual message for the audience.  This has lead many to regard Battleship Potemkin as a true event, which in fact is not completely true.  Yet, it was something that the Soviet regime must have appreciated, as this film promoted the Communist party’s propaganda.

Despite being propaganda, the audience can relate to the situation of the navy men on the Potemkin who are very discontent with the rotten meat and lack of opportunity for rest.  Discontent brews frustration and irritation within the ship's crew, as the authority of the ship treats the men worse than prisoners of war.  Understanding the history provides an interesting connection between the navy men and the farmers of Russia, which Eisenstein used in order to create solidarity among the people of the Soviet Union through the film.  When the Admiral attempts to address the discontent among the crew it leads to him giving the command to cover up some of the discontent men with a huge white trap.  Consequently, he orders the execution of these men, however, the film’s unknown hero, Vakulinchuk exclaims, “Brothers! Who are you shooting at?”  This leads to a mutiny on the ship, which the crew wins at the cost of Vakulinchuk's death.

The death of Vakulinchuk leads to a great gathering where the people display the sorrow for the fallen hero.  As the gathering continues to grow people, begin to voice their discontent with the tsar, which Eisenstein depicts through risen fists in the air and animated gestures by the actors.  It eventually leads to the most famous scene in the film, the massacre at the Odessa Steps, where the Cossacks kill at random men, women, and children.  There is one scene in the whole sequence that is stunningly edited, as it will twist the guts of the audience.  It depicts how a child is shot and falls on the steps and while laying on the steps panicked people trample on the child.  The mother witnesses the whole scene, as she lifts up her child in her arms while approaching the shooting Cossacks.  This scene is visually loaded and poignantly tormenting; however, the message is clear and powerful, as the people are ready to join the revolution.

Many consider Battleship Potemkin as one of the cinematic masterpieces of all time, and rightfully so.  It is true that it has a political value for Communism, yet it also displays a brilliant visual narration that many will continue to study for a long time.  The film received a ban in several nations after its release, even in Soviet Union by Stalin who feared an uprising in the military ranks.  It has been suggested that the film heavily influenced Luis Buñuel, as he was holding onto stones in case of a negative reaction by the audience during the opening of his first film, Un Chien Andalou (1929).

Despite its political intention, Battleship Potemkin offers an interesting notion in regards to humanity, which Eisenstein brings out through his skillful direction.  The film also offers a truly brilliant cinematic experience through the exceptional montage.  All of the cinematic components make it look much like a modern film, which the audience might see in the theater.  Yet, the silence, the musical score in the background, and the black and white film raise the awareness in the audience that this film has earned it's well deserved spot in film history as one of the best films ever made.

DIRECTED BY
Sergei M. Eisenstein
Grigori Aleksandrov

COUNTRY

Soviet Union
REVIEWED
3/9/2005
GRADE


Filmography links and data courtesy of  
The Internet Movie Database.