Strike ★★★★½

Told with Sergei Eisenstein’s pioneering use of montage, editing and clashing metaphorical images and released the same year as his seminal Battleship Potemkin, Strike champions many memorable scenes. They both share various similarities as they conjure up representations with tremendous gravitas from Eisenstein’s positioning and movement of the camera to the final and phenomenal projected images. The narrative is broken down into six parts as it accounts a tale of industrial action taken by the workers of a factory in pre-revolutionary Russia. 

There's an enormous charm in the first act as some beautiful lighting is used to compose images of workers with exhausted yet committed looks broadcasted across their faces, before it skirts scantily into a parable of man versus machine as the workers adapt to new methods of working with modern technology. The indicated workers discovering a semblance of peace with their iron appliances is short-lived as an innocent worker is soon accused of theft which leads to his suicide, and the movie morphs as the righteous anger of the workers govern a strike against their unsympathetic capitalist's employers. There are continual attempts to suppress the workers strike before it culminates with some violent scenes as crowds are dispersed, resulting in bodies lying in the street and a final image which is shell-shocking. This film is a commanding accomplishment and a milestone in cinematic history.