Bronenosets Patyomkin (1925)

I have loved silent film for nearly forty years, ever since I saw a series of Chaplin films on TV. But it was not until about half a year ago that I watched my first silent with live accompaniment – which is of course the way they were meant to be seen. The film was one of the greatest of all silent classics, Bronenosets Patyomkin (Броненосец Потёмкин), best known in English as Battleship Potemkin.

Sergei Eisenstein's Броненосец Потёмкин / Bronenosets Patyomkin / Battleship Potemkin (1925)

The scoring of silent films on the Internet Archive is rarely unproblematic. Even though the films themselves have often fallen into the public domain, and therefore can be freely uploaded to the archive, this is not necessarily the case with the music. For many commercially released silents, a new score has been composed; often the original music has been lost, if there even was an official score in the first place. And even when the music itself is free, the performance as such may be copyrighted. If these things bother you (I have no idea if the excellent score for this particular edition is copyrighted or not), then you are in luck, because the Internet Archive contains many examples of groups or individuals who make it their hobby to produce new free scores for old films. These are, of course, of wildly varying quality, but for this particular film, a pretty decent one exists, created by a group called Apskaft. Their version, unfortunately, suffers from inferior image quality, but you cannot have everything.

Battleship Potemkin tells the story of how the crew of a Russian battleship revolt against their cruel officers when several crew members are ordered shot after refusing to eat bad meat. The film was released the same year as director Sergei Eisenstein’s first feature film, Strike, but already we see Eisenstein perfecting his craft, progressing into the halls of the greatest cinematic artists of all time. There is a reason why this film is often mentioned when the greatest films ever are discussed. Among many other things, Eisenstein shows excellent technique in composition and cutting, and there are also many facial close-ups, for great effect.

This film, of course, cannot be discussed without mentioning the Odessa stairs, one of the most famous scenes in all of cinematic history, and a favourite example for film theoreticians. It is a bit unfortunate that this scene has been so over-analyzed, because it really deserves to be seen with fresh eyes. I will therefore say nothing substantial about it, and if you happen to be among the lucky few who are unaware of what it is, then you will be able to enjoy it in full, without preconceived notions.

The ending of the film is typical of how propaganda film is tweaked in order to create a mood and serve a political lesson, rather than try to tell any kind of truth (Hollywood, by the way, does this all the time in order to make historical events fit better with what the producers and writers perceive the audience wants, and the messages they wish to convey). In the film, the battleship sets course straight for an armada of ships sent by the government to force the mutineers to surrender, but instead the Potemkin makes the entire armada change sides without firing a shot. In reality, only a single ship sided with the Potemkin, and both crews eventually had to give up.

This film is best enjoyed with live music, the way I had the fortune of watching it. But if you cannot get that, the music for this version, or for the other version mentioned above, will do very nicely. A good score definitely adds another dimension to silent film, and I actually prefer no sound at all to a poor score.

Sergei Eisenstein's Броненосец Потёмкин / Bronenosets Patyomkin / Battleship Potemkin (1925)

Bronenosets Patyomkin
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Year: 1925
Running time: 1 h 11 min
Language: Russian (English subtitles)
Director: Sergei Eisenstein
Image quality: Excellent
Resolution: High (928×738)
Soundtrack: Excellent; perfectly synchronized music
Sound quality: Excellent
Best file format: MPEG4 (1.3 G)

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Strike (1925)

Sergei Eisenstein’s first feature-length film, Strike (known as Stachka or Стачка in Russian), showed that the legendary director had already at that time formed most of those ideals that were to follow him through much of his career. And while it may not be as refined as some of his later works, it is just as powerful, poetic and artistic. Strike deserves to be seen for reasons beyond historical curiosity.

Workers in Strike / Stachka / Стачка (1925)

Strike tells the story of a pre-revolution strike at a factory (apparently based on true events) and its voilent resolution. We get to follow the workers as their dissatisfaction with the poor and greedy management explodes into action, when one worker hangs himself because he has been falsely accused of theft. The workers unite in their demands for better conditions, but the managers plot to either force them back to work, or get rid of them once and for all.

One of the things that is typical about Strike, and that sets it appart from the Hollywood norm of story-telling that we are used to, is that there is no main character. Focus is always on the group, and even when individuals do emerge out of the formless mass of strikers (constantly running around from one place to another), they are not proactive in the way that you would expect your standard Hollywood protagonist to be. Rather, they react to things that happen around them, and they act together with the group. You could perhaps call them catalysts, sparking the fire in others to act in concert. This theme of cooperation permeates the film to the extent that one could probably write a book about it.

Another of Eisenstein’s identifying traits is the way he uses metaphor in his images. Some would perhaps say that he is too obvious when he interfoliates cuts with animals and with humans, thereby giving the humans animal characteristics. But to me, this is enormously powerful. Even more so, since this technique is practically never used in Western film, neither contemporary nor modern.

This film is best enjoyed for its powerful and emotional ending. As the military move in on horseback and massacre the strikers, Eisenstein interleaves cuts of cattle being slaughtered, and of laughing capitalists, fat and lazy. Regardless of whether you agree with the underlying ideology, this is truly effective and artistic film.

Revolutionary leader in Strike / Stachka / Стачка (1925)

Strike
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Year: 1925
Running time: 1 h 34 min
Language: Russian (English subtitles)
Director: Sergei Eisenstein
Image quality: Acceptable
Resolution: Medium (640×480)
Soundtrack: Excellent; perfectly synchronized music and some sound effects
Sound quality: Excellent
Best file format: Cinepack (685 M)