Tymon Sutton The acting is good, and the firecracker script has some excellent ideas.

Jakoba True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Curt Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

sevdakarababa-71077 For that time even for now they could manage to shoot very diffucult scenes. I was watching some cheap ass 2018 movies they cant even close to this movie. I dont know what is the reason behind that movie to make, but directors ( this young stupid ones especially) must watch this. After that they should think about making movie and to be come a director.

classicsoncall This silent films is organized in chapters, or as some other reviewers refer to them, as montages, though it didn't seem to me that the technique was needed. The story moves fairly seamlessly and the viewer has no trouble following the sequence of events; the title cards signaling each montage is almost like a break in the flow of the story. Even so, this is a gripping film, all the more compelling for it's production during the silent era under director Sergei M. Eisenstein. There is an early preface relative to individuals falling under the spell of mass consciousness which itself dissolves into revolutionary fervor, and that theme dominates the story. As impressive as the movie is, I was totally awed by the sequence involving the citizenry of Odessa filing out on that incredibly long strip of land with ocean on both sides, for the viewing of Grigory Vakulinchuk, leader of the mutiny aboard the Potemkin protesting inhumane conditions and rotting meat masquerading as food for the sailors. And as so often has happened with my movie viewing pleasure, I was rewarded once again with a moment of cosmic serendipity upon witnessing the Odessa Staircase montage with it's baby carriage sequence. I had no idea that was coming, and with my very prior viewing of "The Untouchables", the scene had me just about jumping out of my seat. If that comment makes no sense to the reader, you'll just have to watch both films, and not necessarily back to back, as the sequence under consideration will be most apparent. The only negative I found with 'Potemkin' was the obvious use of a model used in some long views of the battleship which brought down the professionalism of the project. Otherwise, this was a competently made film, all the more so for it's silent era origins, and one which every cinema fan should see at least once.

AHOLDER-1 Sound: The orchestral score written for this film synchs well and helps drive the tension and energy of the film. There even is am homage to Tchaikovsky's 1812 overture by using Le Marsellaise in the score. 90/100 Technical: Poor use of the ship model. Eisenstein breaks the 180 degree plane a couple of times. The montage editing drives the pace and tension of the film. Excellent use of framing and camera angles. 95/100 Narrative: Episodic in 5 parts but it flows together. Weak ending if the film was not for propaganda use. 100/100 Acting/Character: Excellent acting for the era. Eisenstein is not afraid of using close ups of the supporting cast; great faces too. Superb use of the different ranks and groups to signify the proletariat, bourgeoisie, and the elite classes; for the propaganda use. 95/100 Did I like it: Yes, but if the ending were true to the real actions of the Soviet Union the ending would have had more bloodshed. 90/100 Artistic merit: Excellent use of montage, controversial subject matter, and a film with a history of being banned or edited. This film's influence on setting standards for future films weighs heavy here. It also shows the power of a "silent" film. 100/100 Total score 95/100

Prismark10 I only became aware of Battleship Potemkin when Brian De Palma's The Untouchable's was released for the cinema and critics mentioned the pram down the steps sequence and how the director borrowed it from this film.This Russian silent celebrates the Potemkin uprising of 1905 which Lenin regarded as an event that sowed the seeds of the The Russian Revolution. This is a fictionalised retelling by Sergei Eisenstein.The crew of the battleship are mutinous because of poor rations, meat infested with maggots but the officers pass it as fit for consumption. The crew will not back down so the officers throw tarpaulin over some of the rebellious crew, give them the last rites and are ordered to be shot.One of the crew members Vakulinchuk pleads to the firing squad not to fire and the firing squad does not and it leads to mutiny as the officers are overcome.The uprising in the ship travels far and wide and in the town of Odessa, Vakulinchuk who was killed in the mutiny, his body is displayed to the public. In the Odessa steps a gathering crowd are fired on by Tsarist troops where women and children are killed leading to a pram with a baby plummeting down the steps. The massacre never happened, it was made up for the film.The film is propaganda to symbolize the spirit of the Russian revolution. Sergei Eisenstein made an epic film with vast crowd sequences, montage editing techniques and is a technical accomplishment for the early days of cinema.