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Battleship Potemkin - Wikipedia. Battleship Potemkin (Russian: . It presents a dramatized version of the mutiny that occurred in 1. Russian battleship Potemkin rebelled against their officers.

Battleship Potemkin was named the greatest film of all time at the Brussels World's Fair in 1. Eisenstein divided the plot into five acts, each with its own title: Act I: Men and Maggots.

Directed by In-je Park. With Min-sik Choi, Do-won Kwak, Eun-kyung Shim, So-ri Moon. Download Whole 120 Beats Per Minute (2017) Movie. For the first time in Korean history, the mayor of Seoul attempts a third term in. Landau was born in Brooklyn and worked as a cartoonist before beginning his career as an actor. He made some appearances on television before being selected by. Battleship Potemkin (Russian: Battleship is a 2012 American military science fiction action film loosely based on the board game of the same name. The film was directed by Peter Berg and starred.

While the Potemkin is anchored off the island of Tendra, off- duty sailors are sleeping in their bunks. As an officer inspects the quarters, he stumbles and takes out his aggression on a sleeping sailor. The ruckus causes Vakulinchuk to awake, and he gives a speech to the men as they come to. Vakulinchuk says, !

The time has come when we too must speak out. All of Russia has risen! Are we to be the last? The meat appears to be rotten and covered in worms, and the sailors say that .

Rather than worms, the doctor says that the insects are maggots, and they can be washed off prior to cooking. The sailors further complain about the poor quality of the rations, but the doctor declares the meat edible and ends the discussion. Senior officer Giliarovsky forces the sailors still looking over the rotten meat to leave the area, and the cook begins to prepare borscht although he too questions the quality of the meat. The crew refuses to eat the borscht, instead choosing bread and water, and canned goods.

While cleaning dishes, one of the sailors sees an inscription on a plate which reads . The sailors are obliged to kneel and a canvas cover is thrown over them as a firing squad marches onto the deck. The First Officer gives the order to fire, but in response to Vakulinchuk's pleas the sailors in the firing squad lower their rifles and the uprising begins. The sailors overwhelm the outnumbered officers and take control of the ship. The officers are thrown overboard, the ship's priest is dragged out of hiding, and finally the doctor is thrown into the ocean as 'food for the fish'. Act III: A Dead Man Calls for Justice.

The Potemkin arrives at the port of Odessa. Vakulinchuk's body is taken ashore and displayed publicly by his companions in a tent with a sign on his chest that says . The sailors gather to make a final farewell and praise Vakulinchuk as a hero. The people of Odessa welcome the sailors, but they attract the police. Act IV: The Odessa Steps. A detachment of dismounted Cossacks forms a line at the top of the steps and march towards a crowd of unarmed civilians including women and children. The soldiers halt to fire a volley into the crowd and then continue their impersonal, machine- like advance.

Brief sequences show individuals amongst the people fleeing or falling, a baby's pram rolling down the steps, a woman shot in the face, broken spectacles and the high boots of the soldiers moving in unison. In retaliation, the sailors of the Potemkin decide to fire on a military headquarters with the guns of the battleship. Meanwhile, there is news that a squadron of loyal warships is coming to quell the revolt of Potemkin. Act V: One Against All. Just when the battle seems inevitable, the sailors of the formerly loyal ships incredibly refuse to open fire on their comrades, externalizing with songs and shouts of joy their solidarity with the mutineers and allowing them to pass unmolested through the fleet, waving the red flag.

Aleksandr Antonov as Grigory Vakulinchuk (Bolshevik sailor)Vladimir Barsky as Commander Golikov. Grigori Aleksandrov as Chief Officer Giliarovsky. I. Bobrov as Young sailor flogged while sleeping. Mikhail Gomorov as Militant sailor. Aleksandr Levshin as Petty Officer.

N. Poltavseva as Woman with pince- nez. Lyrkean Makeon as the Masked Man. Konstantin Feldman as Student agitator. Beatrice Vitoldi as Woman with the baby carriage. Production. In addition, as part of the celebrations was suggested a . Petersburg, Moscow uprising. Filming was supposed to be conducted in a number of cities of the USSR.

Sergei began with filming in Leningrad and had time to shoot the railway strike episode, horsecar, city at night and the strike crackdown on Sadovaya Street. Further shooting was prevented by the deterioration weather: permanent fog began.

At the same time the director was placed in tight time constraints: the film was needed to be finished by the end of the year, although the script was approved only at the 4th of June. Objectively assessing the situation, Sergei Eisenstein decided to give up the original script consisting of eight episodes to focus only on one – the uprising on the battleship .

Sergei Eisenstein together with Grigori Aleksandrov essentially recycled and extended the script. As a result, the content of the film was very far from the original script by Agadzhanova. The film was shot in Odessa which at that time was one of the centers of film production and where it was possible to find a suitable boat for shooting. The first screening of the film took place December 2.

During the Japanese colonial era, roughly 400 Korean people, who were forced onto Battleship Island ("Hashima Island") to mine for coal, attempt to escape.

Bolshoi Theatre. Eisenstein under the artistic direction of Sergei Yutkevich. In 1. 92. 5, after sale of the film negative to Germany and reediting by director Phil Jutzi, . Later it was subjected to censorship and in the USSR some frames and intermediate titles were removed, words of Leon Trotsky in the prologue were replaced with a quote from Lenin. It is usually cited that the battleship . That had been scuttled in 1. Interior scenes were filmed on the cruiser . Stock footage of Potemkin class ships is used to show her at sea and stock footage of the French fleet is used to depict the waiting Russian Battlefleet, as is anachronistic footage of triple gun turrent Russian Dreadnoughts .

This was handtinted red for 1. Eisenstien himself for the premiere at the Grand Theatre, which was greeted with thunderous applause by the Bolshevik audience. 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 .

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. This sequence has been assessed as a . 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. It is ironic that . Several films spoof it, including Woody Allen's Bananas and Love and Death, Zucker, Abrahams, and Zucker's Naked Gun 3. The 2. 01. 1 October Revolution parade in Moscow featured a homage to the film. The Irish- born painter Francis Bacon (1. 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. 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 .

Martin Landau: 1. He came up in the 1. Actors Studio, where he made friends with James Dean, and so he took his profession very seriously and even self- seriously as a Method actor.

That was a part of being from his generation of performers, particularly those that studied with his guru, Lee Strasberg. Even as a young man, Landau had a staring, confrontational, harshly menacing look, as if he might have been John Cassavetes’ less ingratiating older brother.

And it was that air of menace that won him his first important role: Leonard in Alfred Hitchcock’s “North by Northwest” (1. Advertisement. Landau was born in Brooklyn and worked as a cartoonist before beginning his career as an actor. He made some appearances on television before being selected by Hitchcock for Leonard, who is a right- hand man and a jealous lover to James Mason’s Phillip Vandamm. Hitchcock had seen Landau play a macho role on Broadway with Edward G. Robinson in the play “Middle of the Night,” and Landau asked the Master why that performance had gotten him the role of Leonard.

He had previously had some trouble with actors trained in the Method, but he saw that Landau could give him just what he needed. My logic was simply that he wanted to get rid of Eva Marie Saint with such a vengeance, so it made sense for him to be in love with his boss, Vandamm, played by James Mason.

Every one of my friends thought I was crazy, but Hitchcock liked it. A good director makes a playground and allows you to play.”Maybe Landau will be remembered best for the way he looks covetously at Mason in “North by Northwest,” and also for the moment when he decides to step on Cary Grant’s hand at the climax of that film on Mount Rushmore. Landau lets his hawk- like face teem with nearly unconscious drives and motives that are pushing Leonard to behave in an evil way until that long, slow moment when he presses his foot down on Grant’s hand on Mount Rushmore. For a guy from Brooklyn born in 1. Leonard as in love with his boss was a bold move, and this was appreciated by Hitchcock.

Advertisement. In the last half of the 1. Landau was the lead on the TV show “Mission: Impossible” opposite his wife Barbara Bain, and that series functioned as an actor’s showcase because his character was a master of disguise. Landau still worked regularly after the show went off the air, but rarely in worthy parts. And then, at the age of 6. Landau received an Oscar nomination for Best Supporting Actor for “Tucker: The Man and His Dream” (1. And he got another nomination for probably his most demanding role: Judah Rosenthal, a man who has his mistress Dolores (Anjelica Huston) murdered in Woody Allen’s “Crimes and Misdemeanors” (1. In “Crimes and Misdemeanors,” Landau has to chart Judah’s anger and growing dissatisfaction with Dolores, who is threatening to tell his wife (Claire Bloom) about their long- term affair.

Judah is happy with his life. He has built it from the ground up, and he doesn’t want to see it get destroyed. Point by point, moment by moment, Landau lets us see how a man might put his big toe into the water of evil and then slowly and surely immerse himself in that water until he finds he can swim in it.

At the end, Landau carries the shock of the scene where Judah admits that he has no pangs of conscience. This was the same sort of daring that let him play Leonard as gay and in love in “North by Northwest” thirty years before. Landau finally got his Oscar on his third try when he played Bela Lugosi in Tim Burton’s “Ed Wood,” where he offered a meticulous, imaginative, and empathetic re- creation of a horror movie star who played one of the undead so often on screen that it became a kind of joke. Landau lets us see the pain of that for Lugosi, and the dependence on drugs that ruled his life as an older man. He also lovingly imitates Lugosi’s hammy and broadly menacing style of acting without a trace of condescension, as one performer to another very different type of performer.

There was enough of a distance between Landau’s image and Lugosi’s image to let us see the effort that needed to be made on Landau’s part to inhabit this character, and this was enough to get the Oscar. Landau worked a great deal after that, because he always worked a great deal. He has nearly 2. 00 credits on IMDb, and that was in addition to his work for and championing of the Actors Studio, where he was a respected figure all of his life.

He exercised his craft, and this led him to Leonard, Judah, and Bela Lugosi, three performances that can stand as a testament to his work and his love of acting. Advertisement. Next Article: George Romero: 1. Previous Article: 3.