Bolshevik Revolution

Bolshevik Revolution

Introduction

Throughout history various persons and administrations in power have attempted to win the hearts and supports of their constituents, often through reframing or reinterpreting historical events in a light favourable to them. This was certainly the case in the Russian Revolution of 1917. The Bolsheviks and Lenin, their leader, sought to use film to recast events of the revolution in such a way as to rally and unify the Russian peasantry. Filmmaker Sergei Eisenstein was one of those recruited for the task, and while many government-sponsored films of the time have disappeared into the massive pile of poor quality filmmaking, two of his works in particular, Battleship Potemkin and October, were powerful in framing the Russian Revolution in the eyes of the world and his own people. These works demonstrate the power of film, even those recognised as containing elements of propaganda.

The film included significant license with the actual historical events of the incident, as Eisenstein and his government backers both made changes to portray the situation in a way supportive of the then-current Bolshevik regime. For example, whilst in reality the sailors were captured and incarcerated, Eisenstein ends the movie with the sailors in a rallying cry of class solidarity, rather than being herded off to prison. Eisenstein also used a variety of cinematic devices to reinforce his theme, regardless of historical accuracy. He staged the slaughter of civilians by the Cossacks on a series of steps in Odessa, undercutting close-ups of guns and faces with scenes of fleeing civilians and attacking soldiers to depict the slaughter of the populace by the czar's troops.

Overseas the film was a rousing success. European and American viewers and critics alike were impressed with the realism of the film and its filmmaking firsts. Eisenstein was the first to use editing to juxtapose apparently unrelated images, to create rapid and dynamic shifts in rhythm, and to compress and expand physical action rather than function simply as a storytelling device. The newsreel-like style of the film was another innovation praised by foreign critics. America's National Board of Review reported at the time the faithful reproduction of this historical event by adhering as much as possible to a literal transcription and reproduction of officially documented facts Nothing approaching the reality of these scenes has ever occurred in cinematics before. Interestingly, most American audiences regarded Potemkin as a celebration of freedom and liberation, rather than a support of a particular political agenda (Browne 182).

The film was not so well received in Russia. While by the 1930s, the Civil War became something of a focus for the revolutionary myth in Soviet cinema just the way the West was won fulfilled a similar function in Hollywood, at the time of its release Soviet audiences preferred lighter and more conventional faire. The problem was that, as long as Soviet audiences had a choice, they preferred the films that were popular elsewhere in Europe, and were happy with a diet of Hollywood hits or Soviet ...