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Sergei Eisenstein was a Russian filmmaker who is often credited with revolutionizing the film industry.
He is best known for his silent films, particularly Battleship Potemkin (1925), which was instrumental in the development of montage theory.
Eisenstein was born Sergei Mikhailovich Eisenstein on 22 January 1898 in Riga, then in the Russian Empire. His father, Mikhail Osipovich Eisenstein, was an architect of Jewish descent who had converted to Russian Orthodoxy; his mother, Julia Ivanovna Konetskaya, came from a Russian Orthodox merchant family. He studied civil engineering in Petrograd, worked with the Red Army, and reached filmmaking through the Moscow Proletkult theatre.
His first film was the short Glumov’s Diary (1923). Strike (1925), Battleship Potemkin (1925), October (1928), and Old and New (1929) followed. There are no Eisenstein films called Attack! (1916) or The Love Parade (1918).
In 1925, he directed Battleship Potemkin, which was based on an incident during the 1905 revolution.
The mutiny on the ship, and especially the Odessa Steps massacre of civilians by tsarist troops, has been cited as an influence on later political and protest imagery.
After Alexander Nevsky (1938) and Ivan the Terrible, Part I (1944), he finished Part II in 1946. That film was banned and released only in 1958. Eisenstein died of a heart attack in Moscow on 11 February 1948, aged 50. He had filmed in Mexico in 1930–32; he did not die there. Ivan’s Childhood (1962) is Andrei Tarkovsky’s film, and there is no Alexander Nevsky Part 2.
Best Sergei Eisenstein Films
The following are the best Sergei Eisenstein films of all time.
1. Battleship Potemkin (1925)
Battleship Potemkin is a true masterpiece of cinema.
Directed by Sergei Eisenstein in 1925, this film tells the story of a mutiny on a Russian battleship and the subsequent revolution it sparks.
The film’s use of montage is revolutionary, with Eisenstein expertly cutting between scenes to create a sense of tension and urgency.
The famous Odessa Steps sequence is a standout moment in the film. Tsarist soldiers and Cossacks fire on civilians, and a baby carriage careens down the steps. The shipboard mutiny is a separate episode: sailors against their officers, not this massacre.
The sequence is both shocking and beautiful, with the music and editing creating a sense of chaos and horror.
Battleship Potemkin is a film that demands attention and rewards it in spades. Its themes of revolution and social justice are as relevant today as they were in 1925, and its innovative filmmaking techniques have influenced countless filmmakers in the decades since its release.
This is a must-see for any fan of cinema or anyone interested in the power of film to inspire and provoke.
2. ¡Que viva Mexico! (1932)
¡Que viva Mexico! is a truly mesmerizing film that takes you on a visual journey through the vibrant culture of Mexico.
Directed by the legendary Sergei Eisenstein, this film is a perfect example of his genius in combining stunning cinematography with powerful storytelling.
Eisenstein planned a prologue, four novellas—Sandunga, Fiesta, Maguey, and Soldadera—and an epilogue, from pre-Conquest Mexico through peonage and revolution. Soldadera was not filmed, and he never edited a finished cut. Salvador Toscano’s earthquake actuality La destrucción de Oaxaca (1931) is not this film.
The visuals are simply breathtaking, with Eisenstein expertly capturing the beauty and energy of Mexico through his camera lens.
He shot the footage in 1930–32 and had to leave the negative behind. The versions in circulation, including Grigori Aleksandrov’s 1979 assembly, are reconstructions, and they still feel relevant and impactful today.
The film’s themes of cultural identity and national pride are as important as ever, and Eisenstein’s masterful direction ensures that the message comes across loud and clear.
If you like Sergei Eisenstein’s work, on our sister site AuteurGraph we have a profile page, a visual film timeline, and a ratings page that gives a tonne of info and data about his career in a visualized form.
3. Alexander Nevsky (1938)
Alexander Nevsky is a Soviet historical epic directed by Sergei Eisenstein that tells the story of the 13th-century Russian prince who defended his land against the invading Teutonic Knights.
The film is a masterpiece of propaganda, with stunning visuals and a powerful score composed by Sergei Prokofiev.
The battle scenes are truly impressive, with thousands of extras fighting in the snow-covered landscapes of Russia.
The cinematography is also noteworthy, with Eisenstein’s use of close-ups and wide shots creating a sense of grandeur and scale.
However, the film’s portrayal of the Teutonic Knights as barbaric and bloodthirsty villains has been criticized for being historically inaccurate and propagandistic.
Additionally, the film’s message of national unity and patriotism can come across as heavy-handed and overly simplistic.
4. Strike (1925)
Strike is a powerful and groundbreaking film that tells the story of a group of factory workers in pre-revolutionary Russia who go on strike to protest their inhumane working conditions.
Directed by the legendary filmmaker Sergei Eisenstein, the film is widely regarded as a masterpiece of early Soviet cinema.
What sets Strike apart from other films is its innovative use of montage editing, which Eisenstein pioneered and popularized.
The film’s use of rapid cuts and juxtapositions creates a sense of urgency and intensity that perfectly captures the spirit of the workers’ struggle.
The film is filled with striking visual imagery and symbolism that are both thought-provoking and intellectually stimulating.
Strike is built around the crowd rather than a single hero. Grigori Aleksandrov plays the factory foreman, and Maksim Shtraukh plays the police spy, not a factory owner.
The film’s themes of social justice, worker’s rights, and the struggle for power are universal, and resonate with audiences of all ages and cultures.
The film’s examination of the nature of power, particularly the way it is wielded and abused by those in authority, is also a standout feature.
5. October (Ten Days that Shook the World) (1928)
October (Ten Days that Shook the World) is a cinematic masterpiece that captures the essence of the Russian Revolution of 1917.
The film is a stunning tribute to the power of collective action and the resilience of the human spirit in the face of oppression.
Sergei Eisenstein’s direction is masterful, as he uses a combination of montage and close-ups to convey the frenzied energy of the revolution.
It is a partisan reconstruction, including a staged storming of the Winter Palace, not a documentary record of 1917. The Party also had it recut to remove Leon Trotsky.
Lenin is played by Vasili Nikandrov, a worker chosen because he looked like Lenin. Nikolai Popov plays Alexander Kerensky, not Lenin.
The use of non-professional actors adds to the authenticity of the film.
The cinematography by Eduard Tisse is breathtaking, with his use of light and shadow creating a sense of unease and tension throughout the film.
The score by Edmund Meisel is also noteworthy, adding to the film’s emotional impact.
6. Ivan the Terrible, Part II: The Boyars’ Plot (1958)
Ivan the Terrible, Part II: The Boyars’ Plot is a masterful work of historical epic filmmaking. Directed by the legendary Russian filmmaker Sergei Eisenstein, this film is the second part of a planned trilogy about Tsar Ivan IV. He completed it in 1946; it was banned and released only in 1958.
The film picks up where the first part left off, with Ivan consolidating his power and dealing with the treachery of his enemies, the boyars.
The film is a visual feast, with Eisenstein’s signature use of montage and striking images that leave a lasting impact on the viewer.
The film’s score, composed by Sergei Prokofiev, is also a standout, perfectly capturing the film’s grandeur and intensity.
One of the most impressive aspects of the film is the performances.
Nikolai Cherkasov delivers a tour-de-force performance as Ivan, capturing both his ruthless power and his inner turmoil.
The supporting cast also shines, particularly Pavel Kadochnikov as Vladimir Andreyevich Staritsky, the cousin the boyars want on the throne. Prince Andrei Kurbsky, who defects, is played by Mikhail Nazvanov.
7. Ivan the Terrible, Part I (1944)
Ivan the Terrible, Part I is a cinematic masterpiece that tells the story of Ivan IV, the first Tsar of Russia.
Director Sergei Eisenstein creates a hauntingly beautiful world that is both powerful and intense.
The film is shot in stunning black and white, with striking visual imagery that transports the viewer to a different time and place.
At the heart of Ivan the Terrible, Part I is the gripping performance of Nikolai Cherkasov, who plays Ivan with a commanding presence that is both terrifying and mesmerizing.
His portrayal of the Tsar is nuanced and complex, capturing both his ruthless determination and his underlying vulnerabilities.
Eisenstein’s use of camera angles and lighting is masterful, creating a sense of unease and tension that permeates every scene.
The film’s score, composed by Sergei Prokofiev, is equally powerful, heightening the drama and emotion of the story.
8. Bezhin lug (1937)
Bezhin lug (Bezhin Meadow) is a haunting and tragic film that Eisenstein was not allowed to finish.
It takes its title from an Ivan Turgenev story, but the plot follows the Pavlik Morozov legend: a boy, Stepok, opposes his father, who is sabotaging the collective harvest, and the father kills him.
Production was stopped in 1937. The negative was later destroyed. What survives is a reconstruction of still frames Eisenstein’s wife, Pera Atasheva, had saved, assembled in the 1960s by Naum Kleiman and Sergei Yutkevich.
Eisenstein’s direction is masterful, and he captures the bleakness of the boy’s murder and the village around it.
The performances are also superb, with each actor bringing a raw and emotional intensity to their role.
One of the most striking elements of the film is its use of imagery.
Eisenstein’s visual style is both poetic and powerful, and he uses the natural world to convey the emotional turmoil of the characters.
9. Old and New (1929)
Old and New is a strikingly beautiful and deeply philosophical film that explores the human condition through the lens of a rural farming community in Soviet Russia.
Director Sergei Eisenstein employs his signature montage style to great effect, seamlessly weaving together scenes of nature, daily life, and revolutionary fervor in a way that feels both organic and energizing.
The film’s central figure is Marfa Lapkina, a poor peasant who pushes her village toward a dairy cooperative and collective farming, against kulak opposition. The story is about mechanization and the collective, not a choice between two suitors.
Visually, Old and New is a feast for the eyes, with Eisenstein’s use of stark black and white imagery and bold compositions creating a sense of both intimacy and epic grandeur.
And while the film’s themes may be weighty, there’s a playfulness to the way Eisenstein approaches them, with moments of humor and whimsy punctuating even the most serious scenes.
10. Sentimental Romance (1930)
Sentimental Romance (Romance sentimentale, 1930) is a French sound short associated with Eisenstein and Grigori Aleksandrov, photographed by Eduard Tisse.
The singer Mara Giry performs a Russian romance while the picture cuts among her, weather, and sculpture. Eisenstein left for the United States in May 1930 while Alexandrov finished the film, and Eisenstein later kept his distance from it.
Richard Barthelmess and Marian Nixon are not in it. It is not a Hollywood love story.
11. Glumov’s Diary (1923)
Glumov’s Diary is Eisenstein’s first film, a short silent trick film from 1923.
He shot it as a filmed insert for his Proletkult staging of Alexander Ostrovsky’s comedy Enough Stupidity in Every Wise Man. Grigori Aleksandrov plays Glumov, the careerist whose diary is stolen. The reel parodies adventure pictures and newsreels, with circus-style stunts, and Dziga Vertov later included the footage in Kino-Pravda No. 16.
It runs about five minutes. It is not a feature about a bumbling clerk, and Vladimir Popov does not play Glumov.
Ivan the Terrible, Part III (unfinished)
Eisenstein planned a third part and left it unfinished when he died in 1948. Part II had already been banned. A few minutes of footage survive, sometimes catalogued decades later; that fragment is not a completed 1988 feature, and it is not a closing chapter in which Nikolai Cherkasov finishes the story.
The Simon & Schuster Classic Film Scripts edition prints the scenarios for Parts I and II and the unfilmed Part III.
Simon & Schuster
- Used Book in Good Condition
Used Book in Good Condition
View on AmazonCharacteristics of Sergei Eisenstein Films
Sergei Eisenstein’s films, including Battleship Potemkin, Strike, October, The General Line (Old and New), Alexander Nevsky, and Ivan the Terrible, are remembered for montage: the collision of shots so that the join produces an idea or feeling the single shots do not carry.
He set that out in the 1923 essay “The Montage of Attractions,” then worked it through Strike (1925) and Battleship Potemkin (1925). October (1928) pushes it toward what he called intellectual montage. He was not a deep-focus filmmaker in the later sense of Jean Renoir or Orson Welles. Depth in his frames comes from composition, crowds, and editing.
He was born on 22 January 1898 in Riga and died in Moscow on 11 February 1948. He did not begin directing documentaries in 1913, study law at Moscow University, or train in Berlin in 1902. His training was civil engineering, then theatre, and his first film was Glumov’s Diary in 1923.
Best Sergei Eisenstein Films – Wrapping Up
The best Sergei Eisenstein films are the ones that are able to capture the essence of their time.
The films were made in an era when cinema was becoming a dominant art form and there was a great deal of experimentation and innovation.
The films also tend to have a strong social message, which is despite the fact that they are often based on historical events or real life people.
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