“They’ve pushed us into a corner; we must strike.”
Genres, Themes, Actors, and Directors:
We are introduced to the factory and its labor leaders (“At the factory all is quiet”); see a worker taking his life after being falsely accused of theft (“Reason to strike”); view the immediate after-effects of the strike — including parents having joyful time to spend with their young children (“The factory dies down”); witness the lingering negative impacts of no income or food (“The strike draws out”); see arson and looting carried out (“Provocation and debacle”); and, finally, watch the proletariat being decimated by the police (“Extermination”).
This all rings eerily close to home, given recent uprisings and subsequent looting and arson stemming from societal unrest and dissent; viewers should be forewarned that Eisenstein pulls no punches in his depiction of class warfare.
Redeeming Qualities and Moments:
(Listed in 1001 Movies You Must See Before You Die)
One thought on “Strike (1925)”
First viewing. A once-must, for its place in Russian cinema history.
Almost 100 years later, this film remains powerful and relevant (as long as there are oppressors and the oppressed, which will be always) – and ffs should be aware of Eisenstein’s masterful work in his debut.
It can occasionally be a bit hard to follow – and sequence content can, at times, fly by. But the points always fall into place.
Eisenstein is often clever with his visuals – and he is particularly adept at crowd scenes, of which there are many.