A strikingly industrial photomontage literally calls out to the passerby to pay heed to the release of Sergei Eisenstein's 'Strike' the first of his three films dealing with the Revolution. There are no overriding plot devices utilized in the film, per se: workers go on strike, get betrayed to the police and are mercilessly slaughtered by Czarist troops. there are no individual heroes--or villains, either, for that matter. The 'evil' is the system--shown, primitively but effectively for its intended audience, as fleshy capitalists, chomping huge cigars and surrounded by symbols of decadent wealth. The 'good guys' are naturally the factory workers, depicted as streams of happy humanity converging on some factory with signs and banners and lots of enthusiasm. One of these laborers, seen here as the middle member of the central trio, is none other than Eisenstein himself. It's interesting to note that the cinema spokesman for the proletariat was oddly enough a member of the upper class--his father was a hugedly successful and wealthy architect, his mother the heiress to one of the largest shipping fortunes in St. Petersburg. sergei drifted to the theater and joined a project called 'Proletkult' (an acronym for proletarian culture). It was under the auspices that he was assigned to film 'Strike'. The film's mixture of Soviet propaganda combined with avant garde techniques, Constructivist shot composition and stunningl original photography made the film such a success that afterwards, Eisenstein was able to get his own financing for future projects. Lavinsky was head of the sculpture department at the Higher Arts Studio in Moscow. He went on to create the political Rosta posters, working closely with Mayakovsky.
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