Russian Title: Stachka
French Title: La Huelga
English Title: Strike
Director: Sergei Eisenstein
Year: 1925
Language: Silent
Subtitles: English
Size: 684 MB (or 701,213 KB or 718,042,170 bytes)
Video Codec: XVID
Video Bitrate: 880 kb/s
Resolution: 640x480 (1.33:1) [=4:3]
Qf: 0.115 bits/pixel
Framerate: 25.000
Audio Specs: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 128 kb/s (64/ch, stereo) CBR 
Fs: 48000 Hz
Runtime: 01:34:25 (141,618 fr)
Source: Unknown

Description: Eisenstein's first film tells the story of a fictional labor strike in pre-Soviet Russia. The suicide of a worker leads to a mass walkout. The bosses and political authorities employ spies and a gang of street thugs to sabotage the strike. When that fails, they bring in armed Cossacks to crush the rebellion by force.

The film shows the young director already in command of the elements of montage to an astonishing degree. The sense of precision, the instinct for combining editing rhythm with drama and the movements of people, practically assault the viewer with the force of a revelation. Along with this power over the image comes a vaguely oppressive feeling - everything we see is so exactly determined by the director's vision that the viewer's eye and mind can feel hampered - a common characteristic of Eisenstein's early masterpieces.

The weak points of Strike are the acting (most of the performers show evidence of their stage backgrounds by being overly theatrical in their gestures) and the propagandistic caricatures of the capitalist bosses. Eisenstein stacks the deck by depicting the bosses as overweight, cigar-puffing villains wearing top hats. That was a stereotype even then. Now it tends to puncture the film's seriousness.

Strike ends with two amazing set pieces. The first shows the fire brigade turning its hoses on the protesting workers. Never have I seen anything so realistic. Those people are really getting blasted by the water, and the dynamic cutting and sense of detail create a riveting immediacy which is a model for any sequence of its kind. The second set piece is the invasion by the mounted Cossacks on the workers' tenement housing. A sort of precursor to the Odessa Steps scene in Potemkin, this long and blisteringly violent tour de force is almost as great and certainly as horrifying as that celebrated sequence.
Cinescene.com


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