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This was handtinted red for frames by Eisenstein himself for the premiere at the Grand Theatre, which was greeted with thunderous applause by the Bolshevik audience. Eisenstein wrote the film as a revolutionary propaganda film,   but also used it to test his theories of montage. In the manner of most propaganda , the characterization is simple, so that the audience could clearly see with whom they should sympathize.
Eisenstein's experiment was a mixed success; he "was disappointed when Potemkin failed to attract masses of viewers",  but the film was also released in a number of international venues, where audiences responded positively. In both the Soviet Union and overseas, the film shocked audiences, but not so much for its political statements as for its use of violence, which was considered graphic by the standards of the time. Eisenstein did not like the idea and wrote an indignant letter to Goebbels in which he stated that National Socialistic realism did not have either truth or realism.
The film was banned in the United Kingdom longer than any other film in British history. One of the most celebrated scenes in the film is the massacre of civilians on the Odessa Steps also known as the Primorsky or Potemkin Stairs. This sequence has been assessed as a "classic"  and one of the most influential in the history of cinema. A separate detachment of mounted Cossacks charges the crowd at the bottom of the stairs.
The victims include an older woman wearing pince-nez , a young boy with his mother, a student in uniform and a teenage schoolgirl. A mother pushing an infant in a baby carriage falls to the ground dying and the carriage rolls down the steps amidst the fleeing crowd. The massacre on the steps, although it did not take place in daylight  or as portrayed,  was based on the fact that there were widespread demonstrations in other parts of the city, sparked off by the arrival of the Potemkin in Odessa Harbour.
Both The Times and the resident British Consul reported that troops fired on the crowds; deaths were reportedly in the hundreds. It is ironic that [Eisenstein] did it so well that today, the bloodshed on the Odessa steps is often referred to as if it really happened. The October Revolution parade in Moscow featured an homage to the film. The scene is parodied in an episode of the television series Duckman , titled "The Longest Weekend".
The Irish-born painter Francis Bacon — was profoundly influenced by Eisenstein's images, particularly the Odessa Steps shot of the nurse's broken glasses and open-mouthed scream. The open mouth image appeared first in his Abstraction from the Human Form , in Fragment of a Crucifixion , and other works including his famous Head series. The Russian-born photographer and artist Alexey Titarenko was inspired by and paid tribute to the Odessa Steps sequence in his series "City Of Shadows" — , shot near the subway station in Saint Petersburg.
Maggots And Men | Film | The Guardian
After the first screening the film was not distributed in the Soviet Union and there was a danger that it would be lost among other productions. Poet Vladimir Mayakovsky intervened because his good friend, poet Nikolai Aseev participated in the making of the film's intertitles.
Mayakovsky's opposing party was Sovkino's president Konstantin Shvedchikov. He was a politician and friend of Vladimir Lenin who once hid Lenin in his home before the Revolution. He had a primitive taste in film and was an anti-Semite who disliked Eisenstein for his Jewish background. Mayakovsky presented Shvedchikov with a hard demand that the film would be distributed abroad and intimidated Shvedchikov with the fate of becoming a villain in history books.
Mayakovsky's closing sentence was "Shvedchikovs come and go, but art remains. Remember that! There Battleship Potemkin became a huge success, and the film was again screened in Moscow. It was shown in an edited form in Germany, with some scenes of extreme violence edited out by German distributors. A written introduction by Trotsky was cut from Soviet prints after he ran afoul of Stalin.
The film was banned in the United Kingdom   until and X-rated   until , France, and other countries for its revolutionary zeal. Today the film is widely available in various DVD editions. In , a three-year restoration of the film was completed.
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Many excised scenes of violence were restored, as well as the original written introduction by Trotsky. The previous titles, which had toned down the mutinous sailors' revolutionary rhetoric, were corrected so that they would now be an accurate translation of the original Russian titles.
To retain its relevance as a propaganda film for each new generation, Eisenstein hoped the score would be rewritten every 20 years.
The original score was composed by Edmund Meisel. A salon orchestra performed the Berlin premiere in Meisel wrote the score in twelve days because of the late approval of film censors. As time was so short Meisel repeated sections of the score. Nikolai Kryukov composed a new score in for the 25th anniversary. In , Chris Jarrett composed a solo piano accompaniment for the movie. In Eric Allaman wrote an electronic score for a showing that took place at the Berlin International Film Festival.
The music was commissioned by the organizers, who wanted to commemorate the 60th anniversary of the film's German premiere. Contemporary reviews were largely positive apart from negative comment because the music was electronic. Allaman also wrote an opera about Battleship Potemkin, which is musically separate from the film score. In commercial format, on DVD for example, the film is usually accompanied by classical music added for the "50th anniversary edition" released in Three symphonies from Dmitri Shostakovich have been used, with No.
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A version of the film offered by the Internet Archive has a soundtrack that also makes heavy use of the symphonies of Shostakovich, including his Fourth , Fifth , Eighth , Tenth , and Eleventh. Their soundtrack, released in as Battleship Potemkin , premiered in September at an open-air concert in Trafalgar Square , London.
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There were four further live performances of the work with the Dresdner Sinfoniker in Germany in September and one at the Swan Hunter ship yard in Newcastle upon Tyne in The avant-garde jazz ensemble Club Foot Orchestra has also re-scored the film, and performed live accompanying the film. In the most recent restoration was completed with an entirely new soundtrack by members of the Apskaft group. The entire film was digitally restored to a sharper image by Gianluca Missero who records under the name Hox Vox.
The new version is available at the Internet Archive. The Berklee Silent Film Orchestra also composed a new score for the film in , and performed it live to picture at the John F. Battleship Potemkin has received universal acclaim from modern critics. The site's consensus reads, "A technical masterpiece, Battleship Potemkin is Soviet cinema at its finest, and its montage editing techniques remain influential to this day. In , a two-disc, restored version of the film was released on DVD. On its re-release, Total Film magazine gave the film a five-star review, stating: " In Italy , this film is very famous because it is parodied in the comedy film Il secondo tragico Fantozzi as La corazzata Kotiomkin "The dreadnought Kotiomkin " , a very boring and endless reels-long film that Ugo Fantozzi , the main character of the movie, and his colleagues are forced to watch many times as their superior, Professor Guidobaldo Maria Riccardelli, is an enthusiast of this film.
The few scenes of the film that we can see in Il secondo tragico Fantozzi is a replica filmed with the steps of Odessa "portrayed" by the Galleria Nazionale d'Arte Moderna of Rome and "the mother's eye" being Alba Maiolini's. When Fantozzi leads his colleagues to rebellion against Riccardelli and burns the film, the Professor forces them to film the movie again, and Fantozzi is forced to portray the baby in the carriage, and his scene comedically goes continuously wrong, and he is constantly forced to film it again.
From Wikipedia, the free encyclopedia.