film student one thinking becoming one name battleship potemkin resonance sergei eistenstein like silentfilm pioneers like griffith although eisensteins innovations commonplace griffiths murnau impact history cinema course taken granted reason bring film student part point whether like not film professor  times  show odessa stairs sequence film hard say even best part films several sequences dealing at time current times russian revolution leave impact seen many films showcasing suspense plain montage the untouchables climax comes mindbr br montage eistensteins knack also lifes blood early career often misused present cinema misused improper context story sometimes montage used another device get point point b montage something else eisenstein trying communicate direct way could urgency passions ultimate tragedies russian people time place even one see eisensteins narrative traditional story ideas much grounding kubrick said this one cant deny power seeing ships arriving harbor people stairs soldiers coming every way guns may find hard believe done s power like passion joan arc overpass time remain importance terms technique emotionbr br of course one could go books which written hundreds times over least eisenstein himself film itself battleship potemkin really like dramatized newsreel specific story movie first segment also one great sequences film mutiny plotted captain headups certain ship detailed almost manipulative way somehow extremely effective montage used well spurts energy capture eye times eisenstein content let images speak themselves soldiers grow weary without food water one directors try get sides story is course much early th century russian nothing else honest sees themes style wins endbr br some may want check outside filmschool stairs sequence like one landmarks severe tragedy film displaying ugly side revolution eisenstein may one accessible silentfilm directors montage detail frame nonactors bolshevik themes cup tea truly one must sees lifetime