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Stachka (Streik)
Preparation, execution and defeat of a strike. The forecourt of the revolution: the factory. According to Eisenstein, he does not make cinema for the eye, but for the fist. Slashed cattle throats. Slaughtered workers. Images from the slaughterhouse and images of the strike crushed by the military: a brutal dance of montage. Animal blood as a metaphor for oppression. Film as an extended newsreel: real places, instead of ‘actors’ an unprecedented new hero – the masses. And what expands the newsreel-like, non-cinematic aspect is a cinematic storm: the ‘montage of attractions’, a kind of mathematically calculated attack on perception, feeling and thinking in the form of an aggressive alternation of contradictory images. Unpolished and unacademic as never before, Eisenstein relies on the power of contradiction in his first feature film. A film full of inventiveness, energy and youthful exuberance. (H.T.)
At the piano: Elaine Brennan