IMDb > Battleship Potemkin (1925)
Bronenosets Potyomkin
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Battleship Potemkin (1925) More at IMDbPro »Bronenosets Potyomkin (original title)

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


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Nina Agadzhanova (script by)
View company contact information for Battleship Potemkin on IMDbPro.
Release Date:
24 December 1925 (Soviet Union) See more »
Revolution is the only lawful, equal, effectual war. It was in Russia that this war was declared and begun. See more »
A dramatized account of a great Russian naval mutiny and a resulting street demonstration which brought on a police massacre. Full summary » | Full synopsis »
Plot Keywords:
1 win See more »
User Reviews:
This Film Is Now Obsolete. See more (182 total) »


  (in credits order)
Aleksandr Antonov ... Grigory Vakulinchuk
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:
Daniil Antonovich ... Sailor
Iona Bij-Brodsky ... Student (as Brodsky)
Julia Eisenstein ... Woman with Food for Sailors

Sergei M. Eisenstein ... Odessa Citizen
Andrey Fayt ... Recruit (as A. Fait)
Korobei ... Legless Veteran
Marusov ... Officer
Protopopov ... Old Man
Repnikova ... Woman on the Steps
Vladimir Uralsky
Zerenin ... Student
Aleksanteri Ahola-Valo ... Extra (uncredited)

Directed by
Sergei M. Eisenstein  (as S.M. Eisenstein)
Writing credits
(in alphabetical order)
Nina Agadzhanova  script by (as N.F. Agadzhanova-Shutko)
Nikolai Aseyev  intertitles (uncredited)
Sergei M. Eisenstein  uncredited
Sergei Tretyakov  intertitles (uncredited)

Original Music by
Eric Allaman (1986)
Yati Durant 
Vladimir Heifetz 
Nikolai Kryukov (1950)
Chris Lowe 
Edmund Meisel  (as Meisel)
Neil Tennant 
Cinematography by
Eduard Tisse (lead cinematographer)
Vladimir Popov (uncredited)
Film Editing by
Grigori Aleksandrov (re-issue) (uncredited)
Sergei M. Eisenstein (uncredited)
Art Direction by
Vasili Rakhals (uncredited)
Production Management
Brian Shirey .... production manager (2007 alternate version)
Second Unit Director or Assistant Director
Grigori Aleksandrov .... assistant director (as T. Aleksandrov)
Sound Department
Evgeniy Kashkevich .... sound recordist (1950 re-issue)
Editorial Department
Sala Deinema .... work print editor: Bundesarchiv-Filmarchiv, Berlin (2007 alternate version)
Ron Heidt .... title editor (2007 alternate version)
Erika Schmidt .... negative cutter: Bundesarchiv-Filmarchiv, Berlin (2007 alternate version)
Gerhard Ullmann .... colorization (2007 alternate version)
Jay Leyda .... assistant editor (uncredited)
Music Department
Helmut Imig .... conductor: Deutsches Filmorchestra Babelsberg (2007 alternate version)
Helmut Imig .... instrumentation: Edmund Meisel's 1926 score (2007 alternate version)
Helmut Imig .... music adaptor: Edmund Meisel's 1926 score (2007 alternate version)
Other crew
Aleksandr Antonov .... assistant to director (as A. Antonov)
Anna Bohn .... reconstruction collaborator (2007 alternate version)
Mikhail Gomorov .... assistant to director (as M. Gomorov)
S. Kazakov .... supervisor (1950 reissue)
A. Kotoshev .... administrator
A.P. Kryukov .... administrator
Aleksandr Levshin .... assistant to director (as A. Levshin)
Enno Patalas .... reconstruction director (2007 alternate version)
Maksim Shtraukh .... assistant to director (as M. Shtraukh)
Bret Wood .... title designer (2007 alternate version)
Herzl Effensachs .... director: marine sequences (uncredited)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Bronenosets Potyomkin" - Soviet Union (original title)
"Potemkin" - USA (informal title)
"The Armored Cruiser Potemkin" - USA (alternative title)
"The Battleship Potemkin" - USA (video box title)
See more »
75 min | Spain:70 min | Spain:77 min | USA:66 min | Argentina:80 min | Spain:68 min (DVD edition) | 72 min (17 fps) (Blu-ray)
Aspect Ratio:
1.25 : 1 See more »
Sound Mix:
Argentina:Atp | Canada:G (Ontario) | Finland:K-12 (1978) | Finland:K-16 (1952) | Finland:(Banned) (1930) | Germany:12 | Germany:(Banned) (1933-1945) | Italy:T (1960) | Italy:(Banned) (1925 - 1960) | Netherlands:AL (video rating) | Norway:15 (re-rating) | Norway:16 (1954) | Norway:Banned (1926) | Portugal:M/12 (DVD rating) | Portugal:(Banned) (original rating) | Portugal:M/12 (re-release) | Portugal:M/16 (video rating) | Portugal:17 (1974) | South Korea:15 (1994) | Spain:T | Sweden:(Banned) (original rating) | Sweden:15 (re-rating) (uncut) (1952) | Sweden:15 (re-rating) (cut) (1946) | UK:X (original rating) | UK:PG (re-rating) (1987) | UK:(Banned) (1926-1954) | USA:Unrated | USA:TV-G (TV rating)
Filming Locations:

Did You Know?

The staircase sequence in this film inspired the famous staircase shootout scene in, "The Untouchables."See more »
Crew or equipment visible: Shadow of the camera, complete with an umbrella, can easily be seen during the scrolling shot of the Odessa Steps.See more »
Student Agitator:Citizens of Odessa! Lying before you is the body of the brutally killed sailor Grigoriy Vakulinchuk, slain by a senior officer of the squadron battleship 'Prince Tavrichesky.' Let's take revenge on the bloodthirsty vampires! Death to the oppressors!See more »
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11 out of 15 people found the following review useful.
This Film Is Now Obsolete., 7 October 2008
Author: jzappa from Cincinnati, OH, United States

Sergei Eisenstein wrote Battleship Potemkin as a revolutionary propaganda film, but also used it to test his theories of "montage". The revolutionary Soviet filmmakers were trying out the result of film editing upon audiences, and Eisenstein endeavored to edit the film in such a way as to generate the utmost emotional reaction, so that the viewer would feel compassion for the defiant sailors and extreme dislike for their pitiless overlords. In the style of most propaganda, the characterization is clearcut and uncomplicated so that the audience could unmistakably tell with whom they should identify.

In both the Soviet Union and abroad, the film stunned audiences not so much for its political message as for its violence, which was explicit by the standards of the age. The film's capability of having great bearing on political ideas by means of emotional reaction was observed by Joseph Goebbels, who said "anyone who had no firm political conviction could become a Bolshevik after seeing the film." This remarkable influence felt and feared by tremendously powerful and influential people is something that never happens in regard to cinema today and hasn't for at least half a century now. Do you know why? Because film is a seminal part of life now. It is a part of the media, and it is easy to overlook one movie in favor of another, or film entirely for another facet of the media, like television. When this picture emerged, it was pure, ripe, brand new, almost surreal to its spectators. Eisenstein's theory of montage has been diluted and adulterated by now to the point where it is either completely ignored or thought of as kindergarten. In 1925, who would have though that a moving picture could provoke such a reaction? Who would have thought it had the capability to change someone who watched it?

Now, this film is obsolete. Film-making has advanced too far for this film to have any kind of effect on the contemporary viewer. The dialogue, as in the title cards, feel too painfully scripted, due to having no need to acknowledge during the writing how people, especially common sailors, speak. The title cards that don't represent dialogue are so self-explanatory that they make the images futile and redundant. "Bowl of soup." Oh, really? There are great closeups of canons, but aside from them, there is no composition, which had not been established as firmly as Eisenstein's montage theory. One shot juxtaposed with another doesn't necessarily say it all. One has to direct the forces withing a shot for a cut to serve any purpose.

I have tried this picture twice. I have felt nothing. The movie's legendary moment is in the scene of the slaughter of civilians on the Odessa Steps, in which soldiers shoot a mother who is pushing a baby in a carriage, and it rolls down the steps in the midst of the escaping mass. This image has been imitated in Brazil, The Untouchables, The Godfather, Joshua and 28 Weeks Later to name a few. These are the only ones of which I can think that I myself have seen, and each one has a more exciting "Odessa steps sequence" rendition than the original "Odessa steps sequence." There is nothing wrong or flat in Eisenstein's sequence. It is well shot and well edited, and why would so many great films imprint off of an unbearably boring film? Because to the generations to which their makers belong, it still had resonance, and it left an effect upon them. But can you watch Brazil or The Godfather and feel that Potemkin, in your own perspective regardless or history's, even compares?

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