The local population, shocked by the bestial murder of an innocent victim, takes the side of the crew and provides them with necessary provisions. The sailors, noticing the iniquity of the officers, take control of the battleship, and then transport the body of the killed leader of the mutiny, Grigory Vakulyuchuk, to Odessa. The sequence of events presented here has a definite order: it develops from exposition through increasing tension and catastrophe to the finale. Such a structure of the film, as the director himself claimed, was taken from Greek tragedy, and what is more, it was supposed to reflect the order of nature. Eisenstein divided it into five parts, which are closed wholes with their own drama and two-part course of action. Watching “Battleship Potemkin” one cannot help but notice the perfect composition of the film. “Battleship Potemkin” – a tragedy in five acts This and other elements of history were processed in the film with truly artistic virtuosity and subordinated to the main propaganda message of the film. The rebellion of the crew began with their refusal to eat borscht prepared with spoiled meat. For this purpose, the director chose a historical episode – the mutiny of Russian sailors against the commanders on the tsarist battleship. The date was not accidental – for the work was to commemorate the Revolution of 1905. In 1925 Eisenstein made his best silent film, “Battleship Potemkin”. The purpose of this juxtaposition was the intellectual conclusion the viewer was to draw from such a drastic association. This director was the first to codify the concept of “ intellectual montage”, which consisted in juxtaposing scenes from different orders: for example, the image of slaughtering cows with the pacification of a workers’ strike (“Strike”). His most important formal achievements concerned discoveries in the field of editing. Sergei Eisenstein was the most prominent experimenter within Soviet cinema. At the same time, “Battleship Potemkin” was a masterful propaganda move – it created the founding myth of communism as an idea that changes the face of an unjust reality. This work captivated the world and became an icon of Soviet avant-garde filmmaking. “Battleship Potemkin”, Sergei Eisenstein’s best film, was made in 1925, on the occasion of the 20th anniversary of the 1905 Revolution. Cast: Aleksandr Antonow, Władimir Barski, Grigorij Aleksandrow, Iwan Bobrow, Michaił Gomorow, Andriej Fajt, Władimir Uralski
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