This avant-garde filmmaker is a pioneer of the medium!

The Russian filmmaker Sergei Eisenstein is often credited with changing the film industry. His silent films, especially Battleship Potemkin (1925), played a crucial role in developing montage theory. They are essential in cinema history, and watching them helps you appreciate how much the medium has evolved in the last century and the significant role Eisenstein played in its development.

Battleship Potemkin 

For movie lovers or anyone curious about the impact of films, "Battleship Potemkin" is a must-watch. Created by Sergei Eisenstein in 1925, this film tells the story of a rebellion on a Russian battleship, sparking a significant revolution. Eisenstein's use of montage, cutting between scenes to build tension, is groundbreaking. One standout moment is the "Odessa Steps" scene, where the camera zooms in on a baby carriage during a clash between sailors and authorities. 

This scene is both surprising and beautiful, with the music and editing creating a feeling of chaos and horror. "Battleship Potemkin" is a film that grabs your attention and delivers. Its themes of revolution and social justice are relevant today, and its innovative filmmaking has influenced many filmmakers since its release.

Que viva Mexico!

"Que viva Mexico!" is an outstanding film that immerses you in the vibrant culture of Mexico. Its themes of cultural identity and national pride remain as significant as ever, and Sergei Eisenstein's brilliant direction ensures a powerful and clear message. The legendary director seamlessly combines stunning cinematography with compelling storytelling, exemplifying his cinematic genius.

The film is divided into four parts, each showcasing a different facet of Mexican culture, spanning from the rich history of the Aztecs to the lively celebrations of the Day of the Dead. Eisenstein's camera lens skillfully captures the breathtaking beauty and energy of Mexico. 

Despite being almost 90 years old, "Que viva Mexico!" retains its relevance and impact, standing the test of time as a testament to Eisenstein's enduring brilliance in cinematic storytelling.

Ivan the Terrible, Part II: The Boyars' Plot 

The second part focuses on Ivan IV's conflict with the boyars, a faction of the Russian nobility opposing his rule. Ivan attempts to seize the boyars' lands and diminish their influence, leading them to hire assassins to eliminate him. The film provides insights into Ivan IV's psychology, incorporating flashbacks to his childhood, all while maintaining the exaggerated and ornate style of the first installment. 

Similar to the previous part, Eisenstein employs colour photography for a pivotal scene where Ivan temporarily allows his cousin and challenger, Vladimir (Pavel Kadochnikov), to impersonate the emperor. The result is a striking historical spectacle, though not necessarily easy viewing, yet it stands as a significant contribution to the history of Eastern European cinema. 

Despite commissioning the film, the Communist authorities were dissatisfied with the final product, possibly interpreting the portrayal of Ivan as a veiled criticism of Stalin. Completed in 1944, the government suppressed it until 1958.

Ivan the Terrible, Part I

This marks the beginning of Eisenstein's two-part historical epic portraying the infamous Russian czar Ivan IV (Nikolay Cherkasov). The film illustrates Ivan's ascent to power and his early reign, characterised by political intrigue, conspiracies, and power struggles. Specifically, it explores Ivan's efforts to consolidate power, his conflicts with the Russian nobility, and the establishment of the controversial political and military force, the Oprichnina. 

The film embraces a maximalist approach, featuring colossal sets and intricate costumes that capture the grandeur of the era. This grandiosity is apparent from the opening scene set in an extravagantly large throne room. The performance style is appropriately over-the-top and larger-than-life. Once again, Eisenstein uses symbolic elements, such as portraying Ivan as a bird. He also employs colour in a distinctive manner; the majority of the film is in black-and-white, with a striking shift to vivid technicolour for ten pivotal minutes near the end.

Strike 

Set in 1903, "Strike" narrates the tale of factory workers confronting oppressive working conditions and meagre wages, leading them to initiate a strike. The governor responds by deploying the military to suppress the workers, resulting in a brutal confrontation. Eisenstein's mastery of editing, especially the use of metaphorical montage, is evident as he cross-cuts scenes of workers being beaten with shots of animals being slaughtered. Another impactful sequence juxtaposes workers being harassed by police with a wealthy man squeezing juice from a lemon. 

"Strike" represents Eisenstein's first venture into feature films following years in the theater. It highlights his impressive editing techniques and has garnered significant acclaim. Many critics consider it one of Eisenstein's most accessible movies, making it an excellent entry point for those new to his filmography. With a runtime of just 82 minutes, the film is relatively short yet impactful.

Eisenstein primarily collaborated with the Soviet state, resulting in the majority of his films serving as works of propaganda. Despite this, his best works are surprisingly intricate and have, at times, provoked displeasure from the authorities who commissioned them! Eisenstein passed away at the age of 46 in Mexico City, succumbing to liver failure.