The flagship among Soviet films in Germany per se, and endlessly appealing and exciting. In 1925, the censor's response provoked intense public conflicts in Germany. It was just as unable to harm the film, however, as the various subsequent proposals to add sound. A perfect social conflict: sailors revolt against their officers – those at the bottom of the pile against those at the top. And it is a question of life or death. Eisenstein's rousing montage lends material form to the tumultuous forces, masters the chaos, and delivers a grandiose finale. His BRONENOSETS POTYOMKIN, which, in a survey of critics conducted some decades ago, occupied the top position among the ten best films of world cinema, is considered a classic. The fascination of its novel aesthetics remains untouched by this aura. Although Mezhrabpom-Film did not produce the film, its distributor, Prometheus, launched it in Germany (with film music specially composed by Edmund Meisel), where it was a great success and thus promoted the company's own subsequent work – with a lasting impact.
Print courtesy of Deutsche Kinemathek, Berlin
by Sergej Eisenstein
with Aleksandr Antonow, Nikolai Lewtschenko, Grigori Aleksandrow