Battleship Potemkin (1925)
"Bronenosets Potyomkin" (original title)

A dramatized account of a great Russian naval mutiny and a resulting street demonstration which brought on a police massacre.

Director:

Sergei M. Eisenstein

Writer:

Nina Agadzhanova (script)

Stars:

Aleksandr Antonov, Vladimir Barsky, Grigori Aleksandrov

Cast

Credited cast:
Aleksandr Antonov	...	Grigory Vakulinchuk - Bolshevik Sailor
Vladimir Barsky	...	Commander Golikov
Grigori Aleksandrov	...	Chief Officer Giliarovsky
Ivan Bobrov	...	Young Sailor Flogged While Sleeping (as I. Bobrov)
Mikhail Gomorov	...	Militant Sailor
Aleksandr Levshin	...	Petty Officer
N. Poltavtseva	...	Woman With Pince-nez
Konstantin Feldman	...	Student Agitator
Prokopenko	...	Mother Carrying Wounded Boy
A. Glauberman	...	Wounded Boy
Beatrice Vitoldi	...	Woman With Baby Carriage
Rest of cast listed alphabetically:
Brodsky	...	Student
Julia Eisenstein	...	Woman with Food for Sailors
Sergei M. Eisenstein	...	Odessa Citizen
Andrey Fayt	...	Recruit (as A. Fait)

Storyline

Based on the historical events the movie tells the story of a riot at the battleship Potemkin. What started as a protest strike when the crew was given rotten meat for dinner ended in a riot. The sailors raised the red flag and tried to ignite the revolution in their home port Odessa.

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Plot Keywords:

revolution | mutiny | battleship | massacre | naval | 

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Genres:

Drama | History

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Certificate:

Unrated

Details

Country:

Soviet Union

Language:

Russian

Release Date:

24 December 1925 (Soviet Union)

Also Known As:

Potemkin

Filming Locations:

Alupka, Crimea, Ukraine

Box Office

Opening Weekend:

$2,283 (USA) (21 January 2011)

Gross:

$50,970 (USA) (13 January 2012)

Company Credits

Production Co:

Goskino

Technical Specs

Runtime:

75 min 68 min (DVD edition) 72 min (Blu-ray)

Sound Mix:

Silent

Color:

Black and White

Aspect Ratio:

1.25 : 1

Did You Know?

Trivia

Charles Chaplin said it was his favorite movie.

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Goofs

During the Odessa Steps sequence as the mother walks with her son towards the oncoming troops, a long shot shows as she approaches, the soldiers halt one flight of stairs above the one she is on. In the next shot, however, the soldiers are marching down another flight of stairs as if they are going to walk right past her. Then in the next scene they have stopped again and are on the same flight of stairs as if they hadn't moved at all.

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Connections

Referenced in Oi aparadektoi: Kane mou ligaki mmm (1991)

User Reviews

"The time has come for us to speak out."

On June 14 1905, during the Russian Revolution of that year, sailors aboard the Russian battleship Potemkin rebelled against their oppressive officers. Frustrated with the second-rate treatment they receive, and most particularly the maggot-infested meat that they are forced to eat, the ship's crew, led by the inspirational Bolshevik sailor Grigory Vakulinchuk (Aleksandr Antonov), decide that the time is ripe for a revolution. And so begins Sergei M. Eisenstein's rousing classic of Russian propaganda, 'Bronenosets Potyomkin / The Battleship Potemkin.'

The film itself is brimming with shining examples of stunning visual imagery: the spectacles of an overthrown ship captain dangle delicately from the side rope over which he had been tossed; the body of a deceased mutineer lies peaceful upon the shore, the sign on his chest reading "KILLED FOR A BOWL OF SOUP;" close-up shots of the clenching fists of the hundreds of spectators who are finally fed up with the Tsarist regime; 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'); the barrels of numerous canons are ominously leveled towards the vastly-outnumbered battleship Potemkin.

However, the film itself is best analysed – not as a fragmented selection of memorable scenes – but as a single film, and, indeed, every scene is hugely memorable. Though divided into five fairly-distinct chapters, the entire film flows forwards wonderfully; at no point do we find ourselves losing interest, and we are absolutely never in doubt of whose side we should be sympathetic towards.

The film is often referred to as "propaganda," and that is exactly what it is, but this need not carry a negative connotation. 'The Battleship Potemkin' was produced by Eisenstein with a specific purpose in mind, 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, 'Potemkin' was predicted to be a popular film in its home country, symbolising the revitalization of Russian arts after the Revolution. It is somewhat unfortunate, then, that Eisenstein's film failed to perform well at the Russian box-office, reportedly beaten by Allan Dwan's 1922 'Robin Hood' film in its opening week and running for just four short weeks. Luckily, despite being banned on various occasions in various countries, '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 distant shots of the multitudes of extras, the audience is not allowed to sympathise with any individual characters, but with the revolutionary population in general. Eisenstein does briefly break this mould, however, in a scene where Vakulinchuk flees the ship officer who is trying to kill him, and, of course, during the renowned Odessa Steps sequence, 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, largely featuring the orchestral works of Dmitri Shostakovich, served wonderfully to heighten the emotional impact of such scenes.

One of the greatest films of the silent era, 'The Battleship Potemkin' is a triumph of phenomenal film-making, and is a significant slice of cinematic history. The highly-exaggerated events of the film (among other things, there was never actually any violent massacre on the Odessa Steps) have so completely engrained themselves in the memory, that we're often uncertain of the true history behind the depicted events. This is a grand achievement.