Strike

Pretty amazing. Lots of techniques and imagery that I was stunned to see in a 1925 film. Very poetic and stunning, with a great eye for composition and timing. There's even some humor. They're not kneeslapping gags or anything, but at least he tried. Of course, the story is pure propaganda (not that I object to a pro-union sentiment one bit), but it's told very well and with a few surprises. It's really exciting stuff. I haven't seen a ton of Soviet silent films but this ranks way up there.

A pretty amazing propanganda with lots of cool techniques and stunning photography along with imagery that you would never expect to be in a 1920s film. The last chapter I must say is a little bit too realistic and brutal for my taste but still satisfying at best.

Oh soviet cinema, how heavy handed you are. The Liquidation Scene holds up remarkably well by today's standards.

This may be a propaganda film, but it's so much more. Eisenstein's cinematography is excellent and it's used effectively to tell an interesting and well paced story about one factory's revolt in the build up to the Russian revolution. The casting is also impressive in the way the character's looks symbolize their place in society.

# 290

I would never have thought I would see this kind of camerawork, and also this type of brutality in a film from 1925. Strike is truly a staggering achievement. Some shocking scenes really make this film something to behold, but one of the most brutal things I have ever seen, and it seems a lot of you agree, is the liquidation scene at the end. A fantastic picture.

Eisenstein seems to care more about the idea of The Workers than he does with the workers themselves. As always, he can put together some arousing montage, but the effect is lost when the characters who comprise the movies are not people, but vessels for a conversation the director is having with himself. Vertov seems to share similar ideals with Eisenstein, and not only runs circles around Eisenstein's film language tinkering, but also breathes life into his rooks and pawns.

Communist propaganda at it's very best!

Good cinematography and shit, but horribly boring story with no characters and a slow pace. For film buffs only

A much more engaging and effective propaganda piece than the celebrated Potemkin. The shots aren't just masterfully framed; they're executed with an unrelenting energy and unbridled playfulness at times.

inek, sari cocuk

Madcap revolution. Maybe my personal favourite of Eisenstein.

It's a bit bloated, the bad guys are almost ludicrously caricatured and it can come of as a tad confusing at times. But at it's best Strike is riveting stuff - especially the finale which had me utterly gripped - and it's beautiful too. A bit of me wants to be more critical of it being propaganda even though I essentially agree with what the film is preaching, but the way it says it is so stirring and, ultimately, devastating that it’s hard not to get swept up by it.

The editing is sharp and it boasts a sense of whimsy with its exaggerated mannerisms that I find charming. On the other hand, it feels like they tend to repeat the same editing tricks throughout the film and a lot of the symbolism is hard to take seriously, especially considering how much of a cartoon their depiction of the bourgeois is. It gets pretty tiring when most of the movie is such a one-note take on revolutionary fervor, though perhaps that can be forgiven due to where it was made.

284

The compositions and editing easily make this some of the most innovative work of the time. For something with so much brutality and nastiness, there's also a lot of playfulness, both in overt humor and how things are presented. Granted, it is very much propaganda, where everyone's either a grotesque caricature or a nameless speck in a teeming mass of united workers. Still, it's all so incredibly virtuosic and briskly done.

88.00

Frenetic would be and understatement. Strike is filled with cuts so rapid they rival the speed of modern action movies. The version I watched had a bizzare hypermodern electronic score that only enhanced the sense of paranoia and insanity this film builds. Highly recommend this version if you can find it, although as far as I can tell it only exists on TPB. /8008230/Stachka++Strike+%281925%29+Sergei+M.+Eisenstein

At times confusing and bloated with unnecessary scenes, but still extremely watchable, especially with the amazing Alloy Orchestra soundtrack.

Arguably the most visually-audacious directorial debut in cinema history - a freewheeling Looney Toon of buffoonery and brutality in equal measure.

While the story itself is pretty (ehem) black-and-white, the editing tricks Eisenstein does are quite impressive. Sometimes it seems he gets a little too preoccupied with his ideas: the cast of oddly-named spies are pretty hard to distinguish in the dark print I saw. I wonder what he would think if he realized people were still watching this 100 years later -- not for the political stance, but for his view of cinematography.

Surprisingly well-made propaganda piece. Several creative shots and scenes, interesting symbolism and a powerful, crushing finale to top it all off.

Propaganda film presumably meant, to a degree greater than Eisensteins other work, for the proletariat, or at least that is what the relative absence of layering and symbolism--the animal anology and, in hindsight, the last two parts, in which the weight of the matter that is the right to strike seeps in quite hard notwithstanding, in addition to the even more extreme, hilariously oversimplified portrait of the Bourgeoisie, seems to indicate. Full, blu-ray version: /watch?v=hG_yM7We0C8

rather convoluted compared to his coincident work battleship potemkin, but still...striking. aha.

E pensar que ainda estamos nessas... esse é o verdadeiro Animal Farm soviético anti-reacionário. Youtube ( https://youtu.be/VD40vLjRaNA )

While other early directors were analytical in their exploration of film's possibilities and erudite in their application, Eisenstein was a mad scientist running amok on passion and angst. Close to a century old and still crass and sanctimonious enough for its propagandic punch, however nakedly manipulative, to mostly connect. Nice big setpieces and even in the plottier, more perfunctory scenes every shot is well-considered and impactful.

A strike in pre-revolutionary Russia is put down by the police. A fairly simple story that is very clearly intended as political propaganda is vividly brought to life by Eisenstein's powerful imagery and radical editing techniques. This film feels strikingly modern for a 95 year old film.

Eisenstein is understandably idolized by formalists who view cinema as an art of visual devices first and foremost. His characters and their facial expressions are archetypes, even physiognomic stereotypes, and the pictures he puts on screen are full of drama, action and symbolic meaning. "Strike" is less powerful considered narratologically - ultimately, it is propaganda, and like "Potemkin" it features manipulative scenes of violence against children (and probably actual animal abuse).

305

Pure propaganda in the first feature from Eisenstein, Strike depicts a rebellion among factory workers demanding fair treatment from their bosses. Eisenstein delivers an engaging film built on clever editing and photography. The film's relentless energy is buttressed by the stark contrasts between the workers on the one hand, and the bosses/spies on the other. While the workers act in a naturalistic manner, the bosses are stylized; while the workers are constantly together, the bosses are alone.

As much as I see the historical significance of this film, I just did not enjoy it. It was difficult to follow and fairly chaotic throughout.

One of those rare films that tangibly moved the art form forward in a single instance.

#317

The unbelievable fluidity of the editing, the very conscious visual language, the sheer exuberance-- nearly everything about this makes it a joy to watch [particularly the first couple of parts]. Just amazing.

Eisenstein babanın efsane ilk işi 11 haz ev