IMDb > Battleship Potemkin (1925)
Bronenosets Potemkin
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Battleship Potemkin (1925) More at IMDbPro »Bronenosets Potemkin (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.

Overview

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8.0/10   32,376 votes »
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Release Date:
24 December 1925 (Soviet Union) See more »
Genre:
Plot:
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:
User Reviews:
Like Citizen Kane it's almost been TOO analyzed and cherished as a landmark, but still not without good reason See more (160 total) »

Cast

  (in credits order)
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)
Korobei ... Legless Veteran
Marusov ... Officer
Protopopov ... Old Man
Repnikova ... Woman on the Steps
Vladimir Uralsky
Zerenin ... Student
Aleksanteri Ahola-Valo ... Extra (uncredited)
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Directed by
Sergei M. Eisenstein  (as S.M. Eisenstein)
 
Writing credits
(in alphabetical order)
Nina Agadzhanova  script (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)
Sheldon Mirowitz (2011)
Neil Tennant 
 
Cinematography by
Eduard Tisse 
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
Yevgeni 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)
Hertzel Effensachs .... director: marine sequences (uncredited)
 

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Additional Details

Also Known As:
"Bronenosets Potemkin" - Soviet Union (original title)
"Potemkin" - USA (informal title)
"The Armored Cruiser Potemkin" - USA (alternative title)
"The Battleship Potemkin" - USA (video box title)
See more »
Runtime:
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)
Country:
Language:
Aspect Ratio:
1.25 : 1 See more »
Sound Mix:
Certification:
Argentina:Atp | Canada:G (Ontario) | Chile:TE | 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:16 (original rating) | Portugal:M/12 (DVD rating) | Portugal:(Banned) (original rating) | 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) | USA:Unrated | USA:TV-G (TV rating)
Filming Locations:
Company:

Did You Know?

Trivia:
The famous Odessa steps sequence was not originally in the script, but was devised during production.See more »
Goofs:
Anachronisms: In the Imperial squadron near the end of the film, we see close-ups of triple gun turrets of Gangut-class dreadnought. It is possibly made this way to show the power of Imperial fleet, but this is an anachronism, for battleships of 1905 were much smaller pre-dreadnoughts, with twin turrets only, just like "Potemkin". "Ganguts" entered service in 1914.See more »
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FAQ

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66 out of 75 people found the following review useful.
Like Citizen Kane it's almost been TOO analyzed and cherished as a landmark, but still not without good reason, 15 September 2005
Author: MisterWhiplash from United States

If you're a film student, or were one, or are thinking of becoming one, the name Battleship Potemkin has or will have a resonance. Sergei Eistenstein, like other silent-film pioneers like Griffith (although Eisenstein's innovations are not as commonplace as Griffith's) and Murnau, has had such an impact on the history of cinema it's of course taken for granted. The reason I bring up the film student part is because at some point, whether you'd like it or not, your film professor 9 times out of 10 will show the "Odessa Stairs" sequence of this film. It's hard to say if it's even the 'best' part of the film's several sequences dealing with the (at the time current) times of the Russian revolution. But it does leave the most impact, and it can be seen in many films showcasing suspense, or just plain montage (The Untouchables' climax comes to mind).

Montage, which was not just Eistenstein's knack but also his life's blood early in his career, is often misused in the present cinema, 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; he was trying to communicate in the most direct way that he could the urgency, the passion(s), and the ultimate tragedies that were in the Russian people at the time and place. Even if one doesn't see all of Eisenstein's narrative or traditional 'story' ideas to have much grounding (Kubrick has said this), one can't deny the power of seeing the ships arriving at the harbor, the people on the stairs, and the soldiers coming at them every which way with guns. Some may find it hard to believe this was done in the 20's; 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, one could go on for books (which have been written hundreds of times over, not the least of which by Eisenstein himself). On the film in and of itself, 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, as a mutiny is plotted against the Captain and other head-ups of a certain Ship. This is detailed almost in a manipulative way, but somehow extremely effective; montage is used here as well, but in spurts of energy that capture the eye. Other times Eisenstein is more content to just let the images speak for themselves, as the soldiers grow weary without food and water. He isn't one of those directors who will try to get all sides to the story; he is, of course, very much early 20th century Russian, but he is nothing else but honest with how he sees his themes and style, and that is what wins over in the end.

Some may want to check it outside of film-school, as the 'Stairs' sequence is like one of those landmarks of severe tragedy on film, displaying the ugly side of revolution. Eisenstein may not be one of the more 'accessible' silent-film directors, but if montage, detail in the frame, non-actors, and Bolshevik themes are your cup of tea, it's truly one of the must sees of a lifetime.

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