Aug 28, 2012 - Peter Berg produces and directs Battleship, an epic-scaled action-adventure that unfolds across the seas, in the skies and over land as our.
![Battleship Battleship](/uploads/1/2/5/6/125618592/810360816.jpg)
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The boots of the soldiers shown marching down the 'Odessa Steps' One of the most celebrated scenes in the film is the massacre of civilians on the Steps (also known as the Primorsky or ). This sequence has been assessed as a 'classic' and one of the most influential in the history of cinema. In the scene, the 's soldiers in their white summer tunics march down a seemingly endless flight of steps in a rhythmic, machine-like fashion, firing volleys into a crowd. A separate detachment of mounted charges the crowd at the bottom of the stairs.
The victims include an older woman wearing, 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. A wide shot of the massacre on the 'Odessa Steps'. The massacre on the steps, although it did not take place in daylight as portrayed, was based on the fact that there were widespread demonstrations in the area, sparked off by the arrival of the Potemkin in Odessa Harbour. Both and the resident British Consul reported that troops fired on the crowds; deaths were reportedly in the hundreds. Writes, 'That there was, in fact, no tsarist massacre on the Odessa Steps scarcely diminishes the power of the scene.
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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.' Treatment in other works of art. American, Russian-born photographer paid tribute to the Odessa Steps shot in his series City Of Shadows (St.Petersburg, 1991) The scene is perhaps the best example of Eisenstein's theory on montage, and many films pay homage to the scene, including, ', ', Hindi film, anime,. Several films spoof it, including and, 's (though actually a parody of The Untouchables), Soviet-Polish comedy, 's and the Italian comedy. The 2011 October Revolution parade in Moscow featured an homage to the film.
The scene is parodied in an episode of the television series, titled 'The Longest Weekend'. The Irish-born painter (1909–1992) 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, and other works including his famous Head series. The Russian-born photographer and artist was inspired by and paid tribute to the Odessa Steps sequence in his series 'City Of Shadows' (1991–1993), shot near the subway station in.
Distribution, censorship and restoration. Another poster of The Battleship Potemkin 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 intervened because his good friend, poet 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!' Besides Mayakovsky many others also persuaded Shvedchikov to spread the film around the world and after constant pressure from Sovkino he eventually sent the film in Berlin. There Battleship Potemkin became a huge success, and the film was again screened in Moscow. When and visited Moscow in July 1926, they were full of praise regarding Battleship Potemkin and Fairbanks helped distribute the film in the United States and even asked Eisenstein to go to Hollywood.
In the United States the film premiered in New York on the 5th of December 1926 at the. It was shown in an edited form in Germany, with some scenes of extreme violence edited out by German distributors. A written introduction by was cut from Soviet prints after he ran afoul of.
The film was banned in the United Kingdom (until 1954 and X-rated until 1978), France, and other countries for its revolutionary zeal. Today the film is widely available in various DVD editions. In 2004, a three-year restoration of the film was completed. 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. Soundtracks 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. A salon orchestra performed the Berlin premiere in 1926. The instruments were flute/piccolo, trumpet, trombone, harmonium, percussion and strings without viola. 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.
Composer/conductor Mark-Andreas Schlingensiepen has reorchestrated the original piano score to fit the version of the film available today. Composed a new score in 1950 for the 25th anniversary. In 1985, composed a solo piano accompaniment for the movie. In 1986 wrote an electronic score for a showing that took place at the 1986. The music was commissioned by the organizers, who wanted to commemorate the 60th anniversary of the film's German premiere.
The score was played only at this premiere and has not been released on CD or DVD. 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 1975. Three symphonies from have been used, with, beginning and ending the film, being the most prominent. A version of the film offered by the has a soundtrack that also makes heavy use of the symphonies of Shostakovich, including his,.
In 2007, Del Rey & The Sun Kings also recorded this soundtrack. In an attempt to make the film relevant to the 21st century, and (of the ) composed a soundtrack in 2004 with the. Their soundtrack, released in 2005 as, premiered in September 2004 at an open-air concert in, London. There were four further live performances of the work with the Dresdner Sinfoniker in Germany in September 2005 and one at the ship yard in in 2006. The avant-garde jazz ensemble has also re-scored the film, and performed live accompanying the film.
For the 2005 restoration of the film, under the direction of in collaboration with Anna Bohn, released on DVD and Blu-ray, the - Museum fur Film und Fernsehen, commissioned a re-recording of the original Edmund Meisel score, performed by the Babelsberg Orchestra, conducted by Helmut Imig. In 2011 the most recent restoration was completed with an entirely new soundtrack by members of the Apskaft group. Contributing members were AER20-200, awaycaboose, Ditzky, Drn Drn, Foucault V, fydhws, Hox Vox, Lurholm, mexicanvader, Quendus, Res Band, -Soundso- and speculativism. 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. A new score for Battleship Potemkin was composed in 2011 by Michael Nyman and is regularly performed by the Michael Nyman Band.
The Berklee Silent Film Orchestra also composed a new score for the film in 2011, and performed it live to picture at the John F. Kennedy Center for the Performing Arts, in Washington, D.C. A new electroacoustic score by the composers collective was first performed live in Naples at Cinema Astra for Scarlatti Contemporanea Festival on 25 October 2017 and published on DVD in 5.1 surround sound by in 'L'Immagine Ritrovata' series, along with a second audio track with a recording of the Meisel's score conducted by Helmut Imig. Critical reaction. This section needs expansion. You can help.
( July 2017) Battleship Potemkin has received universal acclaim from modern critics. On review aggregate website, the film holds an overall 100% 'Certified Fresh' approval rating based on 44 reviews, with a rating average of 9.1 out of 10.
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.' Since its release, Battleship Potemkin has often been cited as one of the finest propaganda films ever made and considered amongst the greatest films of all time. The film was named the at the in 1958.
Similarly, in 1952, magazine cited The Battleship Potemkin as the fourth greatest film of all time and has been voted within the top ten in the magazine's five subsequent decennial polls, dropping to number 11 in the 2012 poll. In 2007, a two-disc, restored version of the film was released on DVD.
Magazine's named it one of the Top 10 DVDs of the year, ranking it at #5. It ranked #3 in 's 'The 100 Best Films Of World Cinema' in 2010. In April 2011, Battleship Potemkin was re-released in UK cinemas, distributed by the.
On its re-release, magazine gave the film a five-star review, stating: '.nearly 90 years on, Eisenstein’s masterpiece is still guaranteed to get the pulse racing.' Directors, and placed Battleship Potemkin on their list of favorite films. Director & both named Battleship Potemkin as their all-time favourite film.
La corazzata Kotiomkin In this film is very famous because it is parodied in the comedy film as La corazzata Kotiomkin ('The Kotiomkin'), a very boring and endless (18-tapes-long) film that, the main character of the movie, and his colleagues are forced to watch many times as their superior, Professor Guidobaldo Maria Ricciardelli, 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 of and 'the mother's eye' being 's. When Fantozzi leads his colleagues to rebellion against Ricciardelli 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. See also., a film review aggregator website References.