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Stachka (1925)

Not Rated | | Drama | 1961 (USA)
A group of oppressed factory workers go on strike in pre-revolutionary Russia.
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Cast

Complete credited cast:
Maksim Shtraukh ...
...
Factory Foreman
Mikhail Gomorov ...
Worker
I. Ivanov ...
Chief of Police
Ivan Klyukvin ...
Revolutionary
Aleksandr Antonov ...
Member of Strike Committee
Yudif Glizer ...
Queen of Thieves
Anatoliy Kuznetsov
Vera Yanukova
Vladimir Uralsky ...
(as V. Uralsky)
M. Mamin
Rest of cast listed alphabetically:
Boris Yurtsev ...
King of Thieves
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Storyline

In Russia's factory region during Czarist rule, there's restlessness and strike planning among workers; management brings in spies and external agents. When a worker hangs himself after being falsely accused of thievery, the workers strike. At first, there's excitement in workers' households and in public places as they develop their demands communally. Then, as the strike drags on and management rejects demands, hunger mounts, as does domestic and civic distress. Provocateurs recruited from the lumpen and in league with the police and the fire department bring problems to the workers; the spies do their dirty work; and, the military arrives to liquidate strikers. Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Plot Keywords:

strike | factory | spy | working | police | See All (37) »

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Release Date:

1961 (USA)  »

Also Known As:

La grève  »

Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

| (DVD special edition)

Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

First feature film directed by Sergei M. Eisenstein. See more »

Connections

Featured in Eisenstein in Guanajuato (2015) See more »

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User Reviews

 
The most watchable and least problematic of Eisenstein's masterpieces.
24 February 2000 | by (dublin, ireland) – See all my reviews

Eisenstein's most purely enjoyable film, possibly because the theorems are more lifelike. In many ways a comedy, as the villains (military, police, factory owners, underworld scabs) are caricatured and dehumanised, which makes the eventual horrors all the more shocking. The workers are, of course, idealised, but their paradise of laziness seems odd for a Communist work.

Montage is the thing, as ever with Eisenstein, both in terms of connecting images to create startling insights, and in making tense, exciting and inevitable the action; but there is an astonishing attention to compositional detail too, most haunting perhaps being the empty, abandoned, impotent, machine-heavy factories, or the vast-stepped drawing rooms of the bloated capitalists.


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