| Photos (See all 33 | slideshow) | Videos (see all 7) |
| 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) | |
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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| Torpedoed | Parasaito Ivu | Bloody Sunday | The Scarlet Empress | Salvatore Giuliano |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Soviet Union section |
Quite a lot has been said about this film and its landmark importance in forming the language of film. If you are interested in film history, to truly understand the innovations Eisenstein brings to the medium you might try viewing Potemkin along side most any film made before it (those of D.W. Griffith offer a good contrast). It should be allowed that Eisenstein was not the only montage theorist and the principles of montage editing would likely have been discovered by another given time. However, even today, few directors have approached the skill with which Eisenstein created meaning through the combination of images at such an early point in the evolution of the medium.
If you are not interested in that sort of thing, Potemkin is still one of the most beautiful and moving films ever made. You should see it, buy it, and tatoo it to your chest.