Oktyabr (1928)

User Rating:

7.8/10   

Directors:

Grigori Aleksandrov
Sergei M. Eisenstein

Writers:

John Reed (book) and
Grigori Aleksandrov (writer)

Release Date:

20 January 1928 (Soviet Union)

Genre:

Drama | History

Plot:

In documentary style, events in Petrograd are re-enacted from the end of the monarchy in February of...

Plot Keywords:

Menshevik | Counter Revolutionary | Petrograd | Historic Figure | Capitalism

Cast

Vladimir Popov	...	Aleksandr Kerensky
Vasili Nikandrov	...	V.I. Lenin
Layaschenko	...	Konovalov
rest of cast listed alphabetically:
Chibisov	...	Skobolev
Boris Livanov	...	Terestsenko
Mikholyev	...	Kishkin
N. Podvoisky	...	Bolshevik
Smelsky	...	Verderevsky
Eduard Tisse	...	German Soldier

Also Known As:

Октябрь (Soviet Union: Russian title)
Ten Days That Shook the World (USA)

Runtime:

Finland:103 min | Sweden:104 min | USA:95 min | Finland:142 min (2007 restored version) | 127 min (20 fps)

Country:

Soviet Union

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Certification:

Brazil:18 | Canada:G (Ontario) | Portugal:M/12 | Finland:K-12 (1965) | Spain:T | Sweden:15 | Germany:12

Filming Locations:

Moscow, Russia

Company:

Sovkino

Trivia:

Eisenstein had to remove most of the footage featuring Trotsky. The re-editing caused the film to be reduced to a little over three quarters of its intended length.

Movie Connections:

Featured in Das Goebbels-Experiment (2005)

October

This, Eisenstein's third film, represents the peak in development of his montage technique. It is arguably the "biggest" film he had made to date in the sense that it was made with the largest number of extras and highest budget he had yet handled. Also, it steps further into the characterlessness of his previous silent films, being in many ways closer to a documentary than a historical feature.

The montage in October is taken to new heights. In an early scene in which a machine gun regiment opens fire on a demonstration, incredibly rapid editing back-and-forth between a shot of a gun barrel and the mean look on the gunner's face suggests both the action and the sound of the gun. Another aspect of the montage which Eisenstein makes extensive use of in October is expressing ideas by editing in shots of objects from outside the setting or at least unrelated to the narrative. For example, images of the Tsar's clockwork toys are spliced into a scene in which the highly unpopular provisional government ministers meet together. In another scene a series of increasing primitive looking religious statues from all over the world are paraded to ridicule the church. While often ingenious, this crosscutting can sometimes be a little heavy handed and obvious. For example, do we really need to flit back and forth so many times between a shot of Kerensky and a statue of Napoleon to understand what is being implied? As well as the allegories conveyed through montage, there are also a few metaphors in shot composition or basic action. When the red guards are ransacking they have a laugh amongst themselves when pulling a decorative cushion off an ornate chair reveals a commode. There are also plenty of Eisenstein's trademark funny faces – particularly ugly or bizarre looking actors cast as people Eisenstein wanted to appear ridiculous, such as the Mensheviks and provisional government ministers.

Eisenstein's direction of crowds is, as ever, flawless. So much so in October that parts of it have been mistaken for actual historical footage of the revolution. A very convincing look-alike of Lenin also pops up from time to time, although I have to say the guy who plays Trotsky looks more like a young Rolf Harris. The events portrayed do seem to be largely historically accurate, albeit from a skewed angle. The Bolsheviks are hero worshipped out of proportion to their actual importance at the time, and Eisenstein constantly promotes the Leninist notion that the masses cannot progress without the guidance of the party. Still, this was the philosophy of the dictatorship in which Eisenstein was operating.

October may be the most technically proficient and finely crafted of all Eisenstein's films. However, it lacks the humanity of Strike and Battleship Potemkin. It's an incredible film, just highly impersonal, which can make for difficult viewing. One final note – the only version available on DVD here in the UK is from Eureka, which as well as having no extras has some terribly translated intertitles, although I understand there are very nice editions of all Eisenstein's films available on Region 1 from Criterion.