Marker begins the film with the Odessa Steps sequence from Sergei Eisenstein's film The Battleship Potemkin, which Marker points out is a fictitious creation of Eisenstein which has still influenced the image of the historical event.

Screenshot from Sergei Eisenstein's Alexander Nevsky ( film ) | Alexander Nevsky.

Prokofiev and Stravinsky restored their friendship, though Prokofiev did not particularly like Stravinsky's later works ; it has been suggested that his use of text from Stravinsky's A Symphony of Psalms to characterise the invading Teutonic knights in the film score for Eisenstein's Alexander Nevsky ( 1938 ) was intended as an attack on Stravinsky's musical idiom.

Eisenstein's first film, Glumov's Diary ( for the theatre production Wiseman ), was also made in that same year with Dziga Vertov hired initially as an " instructor.

Strike ( 1925 ) was Eisenstein's first full-length feature film.

The critics of the outside world praised them, but at home, Eisenstein's focus in these films on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others, such as Vsevolod Pudovkin and Alexander Dovzhenko, under fire from the Soviet film community, forcing him to issue public articles of self-criticism and commitments to reform his cinematic visions to conform to the increasingly specific doctrines of socialist realism.

Eisenstein's foray onto the west made the staunchly Stalinist film industry look upon him with a suspicion that would never completely disappear.

This was started, completed, and placed in distribution all within the year 1938, and represented not only Eisenstein's first film in nearly a decade but also his first sound film.

Prokofiev composed the score for Eisenstein's film and Eisenstein reciprocated by designing sets for an operatic rendition of War and Peace that Prokofiev was developing.

At the 1958 Brussels World Fair, critics rated it the second greatest film in history, behind only Eisenstein's The Battleship Potemkin.

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 more positively.

The scene is perhaps the best example of Eisenstein's theory on montage, and many films pay homage to the scene, including Terry Gilliam's Brazil, Francis Ford Coppola's The Godfather, Brian De Palma's The Untouchables, Tibor Takacs ' Deathline, Laurel and Hardy's The Music Box, George Lucas's Star Wars Episode III: Revenge of the Sith, Chandrashekhar Narvekar's Hindi film Tezaab, Shukō Murase's anime Ergo Proxy and Peter Sellers ' The Magic Christian.

Because he could not afford to hire a film crew or actors, or develop 35mm stock, Bakshi requested prints of films that contained the type of large battle scenes needed, including Sergei Eisenstein's Alexander Nevsky, and spliced together the footage he needed.

It was this reenactment which provided the inspiration for the scenes in Sergei Eisenstein's film October: Ten Days That Shook the World.

Sergei Eisenstein's envisioning of Alexander Nevsky ( film ) | Alexander Nevsky forms the background of this World War II posters from Soviet Union | Soviet poster from World War II.

It has been used as an alienating Brechtian technique ( the Verfremdungseffekt ) that makes the audience aware of the unreality of the film experience, in order to focus the audience's attention on the political message of a film rather than the drama or emotion of the narrative — as may be observed in some segments of Sergei Eisenstein's The Battleship Potemkin.

* The movie being shown to American prisoners at the Soviet camp near Calumet is Alexander Nevsky ( 1938 ), Sergei Eisenstein's Soviet anti-Nazi film.

This scene is notable because it became the legitimate, historical depiction of the storming of the Winter Palace owing to the lack of print or film documenting the actual event, which led historians and filmmakers to use Eisenstein's recreation.

In spite of the film's lack of popular acceptance, film historians consider it to be an immensely rich experience — a sweeping historical epic of vast scale, and a powerful testament to Eisenstein's creativity and artistry.

The film was the first of Eisenstein's dramatic films to use sound.

This enabled a new generation to experience Eisenstein's film and Prokofiev's score in high fidelity, rather than having to settle for the badly recorded musical portion that had existed since the film's original release.

Quentin Tarantino describes Avatar as " a cross between Tolkien's Hobbit, Mel Brooks ' 2000 Year Old Man, and Marvel Comics ' Howard the Duck " and Blackwolf as being physically similar to Sergei Eisenstein's Ivan the Terrible.

As a political novel, Pharaoh became a favorite of Joseph Stalin's ; similarities have been pointed out between it and Sergei Eisenstein's film Ivan the Terrible, produced under Stalin's tutelage.

Cherkasov was one of Stalin's favorite actors and played title roles in Sergei Eisenstein's monumental sound films Alexander Nevsky ( 1938 ) and Parts I & II of Ivan the Terrible ( 1945 & 1946 ; though Part II was not officially released until 1958 for political reasons ).

Soviet cinema played an important part in cultivating the leader's cult of personality: from 1937 and onward, in a gradual process, Stalin's reign was legitimized by depicting him as Vladimir Lenin's most devout follower and by positively presenting historical autocrats-like in Sergei Eisenstein's Ivan the Terrible.

His complicated relationship with his cousin, Ivan the Terrible, was dramatized in Sergei Eisenstein's movie Ivan the Terrible.

The most acclaimed of his sound films were Peter the Great ( 1938 ), in which he played Prince Menshikov, and Sergei Eisenstein's Ivan the Terrible ( 1942 – 44 ), in which he played Malyuta Skuratov.

However, in Russia, Eisenstein's focus on structural issues such as camera angles, crowd movements, and montage brought him and like-minded others, such as Vsevolod Pudovkin and Alexander Dovzhenko, under fire from the Soviet film community.

Eisenstein's vision of communism brought him into conflict with officials in the ruling regime of Joseph Stalin.

The thing which appeared to save Eisenstein's career at this point was that Stalin ended up taking the position that the Bezhin Meadow catastrophe, along with several other problems facing the industry at that point, had less to do with Eisenstein's approach to filmmaking as with the executives who were supposed to have been supervising him.

However, there were films that had more sophisticated aesthetic objectives, such as Carl Theodor Dreyer's The Passion of Joan of Arc ( 1928 ) and Vampyr ( 1932 ), surrealist films such as Luis Buñuel's Un chien andalou ( 1929 ) and L ' Âge d ' Or ( 1930 ), or even films dealing with political and current-event relevance such as Sergei Eisenstein's famed and influential masterpiece Battleship Potemkin.

This is already apparent in his breakthrough piece, The Deluge ( 1957 – 58 ), which is inspired by Eisenstein's notes for a film based on a writing by Leonardo da Vinci ; in other words Goehr writes music about a director's notes for a film based on the writings of a painter!

*** Battleship Potemkin ( album ), a 2005 album of electronic and orchestral music written by Neil Tennant and Chris Lowe from Pet Shop Boys to accompany Eisenstein's film

Influential European films included Fritz Lang's two-film series Die Nibelungen: Siegfrieds Tod and Die Nibelungen: Kriemhilds Rache ( 1924 ), Sergei Eisenstein's Alexander Nevsky ( 1938 ) and Ingmar Bergman's The Seventh Seal ( 1957 ), while in France there were many versions of the story of Joan of Arc.

Influential European films, often with a nationalist agenda, included the German Nibelungenlied ( 1924 ), Eisenstein's Alexander Nevsky ( 1938 ) and Bergman's The Seventh Seal ( 1957 ), while in France there were many Joan of Arc sequels.

Eisenstein's solution was to shun narrative structure by eliminating the individual protagonist and tell stories where the action is moved by the group and the story is told through a clash of one image against the next ( whether in composition, motion, or idea ) so that the audience is never lulled into believing that they are watching something that has not been worked over.

Eisenstein's idiosyncratic and artistic approach to cinema was incompatible with the more formulaic and commercial approach of American studios.

Eisenstein's health was also failing: he was struck by a heart attack during the making of this picture, and soon died of another at the age of 50.

The Irish born painter Francis Bacon ( 1909 – 1992 ) was profoundly influenced by Eisenstein's images, particularly the Odessa Steps shot of the nurse's broken glasses and open mouthed scream.

In 1241, it was taken by the Teutonic Knights, but Alexander Nevsky recaptured it several months later during a legendary campaign dramatized in Sergei Eisenstein's 1938 movie.

Eisenstein's montage experiments met with official disapproval ; the authorities complained that October was unintelligible to the masses, and Eisenstein was attacked — for neither the first time nor the last — for excessive " formalism ".

It was produced by Goskino via the Mosfilm production unit, with Nikolai Cherkasov in the title role and a musical score by Sergei Prokofiev, Alexander Nevsky was the most popular of Eisenstein's three sound films.

It was at the Cinémathèque Française that he befriended the head, Henri Langlois ( later claiming that he worked for Langlois for twelve years ) and was allowed to rummage through the Cinémathèque's archives, in which he found prints of Sergei Eisenstein's Que Viva Mexico !, which he attempted to put into Eisenstein's original order.