Streik

It takes place during the 1912 Factory Strike in Russia. This was the brilliant debut of Sergei Eisenstein which introduced the idea of montage. Done before Potemkin, Stachka/Strike(1925) is a film about the struggle of the working class against the Tsar. The film showed of things to come for the career of Eisenstein. This was to be part of a series of films concerning the events that led to the 1917 Revolution. He shows the working class as the main protagonist in Strike. Was co-written by frequent co-writer Grigori Aleksandrov.

Stachka and Battleship Potemkin would be the only films in which Eisenstein would have complete artistic control. Like Potemkin, it also features a grand massacre sequence. Eisenstein's direction is nothing short of first class. October(1927) can be looked upon as a sequel to Strike. The images of this is an example of why the silent period was the last truly great era of visual filmmaking. Strike would be the first of many great movies from a master artist. A fine scene is the superimposition of a slaughtered bull over a scene of massacred workers.

Eisenstein's most purely enjoyable film, possibly because the theorems are more lifelike. In many ways a comedy, as the villains (military, police, factory owners, underworld scabs) are caricatured and dehumanised, which makes the eventual horrors all the more shocking. The workers are, of course, idealised, but their paradise of laziness seems odd for a Communist work.

Montage is the thing, as ever with Eisenstein, both in terms of connecting images to create startling insights, and in making tense, exciting and inevitable the action; but there is an astonishing attention to compositional detail too, most haunting perhaps being the empty, abandoned, impotent, machine-heavy factories, or the vast-stepped drawing rooms of the bloated capitalists.

Sergei Eisenstein's "Strike", like his more well-known films, is interesting and contains some memorable imagery. The story is worthwhile in itself, and it repays careful attention because of the considerable detail that is shown using Eisenstein's distinctive approach. It lacks any particularly interesting characters, but then, so did "Battleship Potemkin". Only an occasional lack of polish sets this apart from Eisenstein's later films.

The story starts with the situations that provoke the strike, and then follows developments on both sides of the dispute. It becomes surprisingly involved for what seems at first to be a simple confrontation. There is quite an assortment of situations, settings, and characters. On occasion, the images are overdone, occasionally even off-putting, but you can already see the creative use of imagery that Eisenstein would later use so effectively.

"Strike" will probably be of interest mainly to those who already appreciate Eisenstein's films, but it is worth seeing. It is really only a cut below "Potemkin", which itself, though generally the most-praised of his films, might actually be surpassed by some of his later works. In any case, "Strike" displays the same kind of style, and has several of the characteristics of the fine classics that were to come.

More so with the Soviets than with any other film school, we need to resupply the context. The image reigns supreme but not in ways we may understand today, as aesthetic accomplishment or space for contemplation. It is about immediate understanding as formed in the eye so that narrative - the tool by which the Czarist or the bourgeois wrote history, thus a suspicious element - is bypassed, the eye and not the mind is thus tasked to construct. Meant to instruct ideological fervor in a generally unsophisticated audience, these films, propaganda we call them now, stirred into action, not thought. This was in tacit understanding with Marxist principles, that demanded history be foremostly changed than understood.

Change; action; seeing. This is the causal chain the Soviets immersed themselves in, looking for the keys that guide vision.

So, these people eventually grew to know more about the mechanisms that control the image than any other group of people anywhere else in history. They were theoreticians, scientists of film, as well as the actual makers; a now extinct combination, much to our dismay. Eisenstein - and Vertov - were key figures; I mean, here was a man who studied Japanese ideograms to understand synthesized image; who discovered that editing to the beats of the human heart affected more.

So, we are talking about a reflexive cinema, about rhythm as opposed to melody. It's just as well with these films that the narrative content is pretty much discarded by now, even though the agitprop often agitated in the right direction; or have we forgotten that workers, at some point, were truly horribly exploited and that the 8-hour workshift was a bloody struggle? But, being able to quickly sift through caricatures - the fat, capitalist factory owner, the well-groomed, pigheaded stockholders slobbering on their fat cigars - and process the easy distinctions between collective good and the individual selfishness, means we can concentrate on rhythm. On how these thin caricatures that should have been harmless, yet are charged with a power that moves and affects.

It's about the mechanisms that control the image; it is a unique opportunity to have this film, it shows the very image being controlled. The end of the first part, with the shot of huge factory machinery whirring into motion as already the uprising is being set into motion; and later, the hand of the cruel stockholder superimposed over the crowd of strikers, clutching, controlling.

Eisenstein is so adept in his touch that the film is, at times, action, comedy, chamber drama, detective film, policier, paean, sobering catastrophe.

The most amazing sequence; we are with the strikers in an outdoors gathering, as the leader is laying down their demands, yet immediately transported to the lavish mansion of the stockholders as they read them with anger; there is some talk and eventually, satisfied, gleeful, they break out the drinks, an intertitle informs us of their answer to the demands, a polite, civilized refusal 'after careful consideration', while immediately the mounted police is storming the outdoors camp.

It is a stunning display of cinema, how time and space are contorted to accommodate for our passage through and yet the result is a dialectic between images as eminently designed for the eye - not the mind. We see, ergo we know - and are.

Russian master Sergei Eisenstein's first feature film is a tour-de-force of cinematic technique. He appears to have a pretty speedy learning curve, beginning straight away with a picture that is confidently crafted and extremely watchable even today.

With the exception of Que Viva Mexico (which he made outside Russia), this is Eisenstein's purest film, the one most free from the constraints of the Bolshevik propaganda machine. There is one mention of the Bolsheviks, but it's inconsequential. This is essentially a film about self-organisation of the workers – a placeless and timeless story which acts as a case study in how a strike can begin, how it can be made successful and how it can be defeated.

Strike has an incredibly exhilarating pace to it and, aside from its political message works as a pure action film. Perhaps unusually for a debut film, this is also the closest Eisenstein came to making a comedy. In a style that would mark all his films, he characterises the villains of the piece – the factory management, police chiefs and government bureaucrats – as exaggerated and often ridiculous figures of fun. The factory owner is the stereotypical capitalist – a top hat-wearing fat controller.

As usual with early Soviet cinema, Strike is essentially characterless. The story is told through the masses, and the proletariat as a whole is the hero. Eisenstein was ideally suited to this, as even in this early film he gives an unprecedented realism to the crowd scenes, and uses every technique at his disposal to create drama from mass action. Eisenstein also demonstrates early on that he has the rather unusual talent of directing large groups of people being massacred. It's an image that would crop up in nearly all of his films.

The only real weakness of Strike is that it too often slips into pretentiousness. Some of the techniques are little more than showing off. There are just a few too many superimpositions and mirror images shots. The symbolism is also often a little too heavy-handed and abstract – the two kids dancing on the table during the interrogation scene certainly baffles me; god knows what the Russian public made of it.

Eisenstein is often described as a pioneer, a founding father of film technique. However, in truth most of the techniques he used had been developed earlier, in particular by D.W. Griffith. It's just that Eisenstein pushed the possibilities of editing to their extreme. He's more of a maverick than a pioneer, as there really has been no-one like him since. Having said that, I can identify three new uses of the editing process that Eisenstein invented with Strike.

Firstly, he often uses a sequence of similar shots to give the impression of the same action being done by lots of people. For example, three shots of tools being thrown to the ground tells us quickly and effectively, in the context of the scene, that the entire workforce is downing tools. Secondly, he edits rhythmically to punctuate action. For example, a quick, dynamic action like someone throwing a punch or a door slamming shut will be punctuated by a film cut, giving it much more impact. This is particularly effective in silent film, as the jarring cuts mean you can almost hear the action in your head.

The third editing technique debuted here was the most abstract and the least influential. Whereas Griffith would edit back and forth between two or more literally related scenes (for example, between someone in trouble and someone coming to rescue them) to build up tension, Eisenstein edits back and forth between unrelated images to create a metaphor. The well-known example of this in Strike is the cutting from the workers being gunned down to shots of cattle being slaughtered – the cattle dying is nothing to do with the plot, but it makes a point. It's a clever idea, but one that was rarely imitated as it breaks up the flow of a film's narrative.

On a totally different note, a little hobby of mine is spotting modern day look-alikes in old films, and Strike has one of my favourites. The king of the beggars is a dead ringer for Shane MacGowan, right down to the missing teeth. Amazing.

Strike has to be one of the most remarkable and mould-breaking debut films of all time. It's not quite up to the level of masterpiece yet, but it's an incredible experience and genuinely gripping entertainment.