Unrest starts at a factory. The last straw was the suicide of a worker accused of stealing a micrometer. An inevitable fine and a many-month payment of the debt for the lost instrument would have ended in his death from hunger anyway. The dead man’s comrades go on strike. The resentful crowd’s actions are directed by the strike committee. They make a decision not to work until the strikers’ demands are met: raising wages, improving labor conditions. The working-class settlement is threatened with hunger. The strike committee calls for patience and fortitude. To provoke the crisis, the management uses local hooligans. Brought to the point of despair, the crowd goes out in the street, where they’re confronted with the Cossacks…
“To create a heroic style, Eisenstein had to go through the montage of eccentric attractions. A parody streak, strong in Eisenstein’s nature, sounds in his first cinematic work - The Strike. It is more subdued in The Battleship Potemkin, but probably will be developed by Eisenstein the engineer in the construction of his future films because gaiety is at the base of the engineering skill in art. (…) The eccentricity of the material, at least the idea of sharp juxtapositions, is coming back to Eisenstein. He inserts automobile races in an agricultural film. I also wanted to add there an x-rayed cow moving across the screen, but Eisenstein turned it down. He is so well provided with his own material that one can make him no present.
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