Full Metal Psycho

Blade Runner (1982)

Blade Runner is a american science fiction film, directed by Ridley Scott. The screenplay, written by Hampton Fancher and David Peoples, is loosely based on the novel “Do Androids Dream of Electric Sheep?” by Philip K. Dick. The film depicts a dystopian Los Angeles in November 2019 in which genetically manufactured beings called replicants – visually indistinguishable from adult humans – are used for dangerous and degrading work on Earth’s “off-world colonies”. Following a small replicant uprising, replicants become illegal on Earth and specialist police called “blade runners” are trained to hunt down and “retire” (kill) escaped replicants on Earth. The plot focuses on a brutal and cunning group of recently-escaped replicants hiding in Los Angeles and the semi-retired blade runner, Rick Deckard (Ford), who reluctantly agrees to take on one more assignment. Blade Runner initially polarized critics: some were displeased with the pacing, while others enjoyed its thematic complexity. The film performed poorly in North American theaters. Despite the box office failure of the film, it has since become a cult classic. Blade Runner has been hailed for its production design, depicting a “retrofitted” future. The film is credited with prefiguring important concerns of the late 20th and early 21st centuries, such as overpopulation, globalization, climate change and genetic engineering. It remains a leading example of the neo-noir genre. Blade Runner brought author Philip K. Dick to the attention of Hollywood, and several more films have since been based on his work. Ridley Scott regards Blade Runner as “probably” his most complete and personal film. In 1993, Blade Runner was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. In 2007, the American Film Institute named it the 97th greatest American film of all time in the 10th Anniversary edition of its 100 years… 100 Movies list.

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Living In Oblivion

The Hunger

Brazil (1985)

Brazil (1985) is from director and co-screenwriter Terry Gilliam - a combination science-fiction, despairing black comedy and fantasy that combines elements of Fritz Lang's Metropolis (1927), Kubrick's Dr. Strangelove (1964), Fahrenheit 451 (1966), George Orwell's novel 1984 (and director Michael Radford's 1984 (1984) that opened at about the same time), Kafka's The Trial, Anthony Burgess' A Clockwork Orange (and Kubrick's A Clockwork Orange (1971)), and Ridley Scott's Blade Runner (1982). Throughout this superb film that satirizes modern technological society, one can glimpse numerous government propaganda signs, billboards, posters and writings that preach conformity and Big Brother wariness - all references to Orwell's 1984. [The signs are credited to co-scriptwriter Charles McKeown.] Police are represented as storm troopers (Nazi-like), and the names of two major officials have stereotypical German names: Kurtzmann and Helpmann. The influential film's enigmatic title refers to the popular Latin song from the late 1930s by Arry Barroso, often used as an escapist theme in the orchestral soundtrack (by Michael Kamen). Other titles were considered for the film: The Ministry of Torture, 1984 1/2 (homage to Fellini's 8 1/2), and How I Learned to Live with the System - So Far. The normal workers in society are docile, powerless, and obedient - to avoid calling attention to themselves and ending up eradicated (literally and figuratively) from the files in the Ministry of Information's flawed computer system.

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A Clockwork Orange (1971)

A Clockwork Orange is a satirical science fiction film adaptation of a 1962 novel of the same name, written by Anthony Burgess. The adaptation was produced, co-written, and directed by Stanley Kubrick. It stars Malcolm McDowell as the charismatic and psychopathic delinquent Alex DeLarge whose pleasures are classical music (especially Beethoven), rape, and ultra-violence. He is the leader of a small gang of thugs (Pete, Georgie and Dim), whom he calls his "droogs" (from the Russian word друг meaning "friend" or "buddy"). Alex narrates most of the film in "Nadsat", a fractured contemporary adolescent argot comprising Slavic (especially Russian), English, and Cockney rhyming slang. A Clockwork Orange features disturbing, violent imagery to facilitate social commentary on psychiatry, youth gangs, and other topics in a futuristic dystopian Britain. The film features a soundtrack comprising mostly classical music selections and Moog synthesizer compositions by Wendy (then Walter) Carlos. One notable exception is "Singing in the Rain," which was chosen because it was a song actor Malcolm McDowell knew all the words to. To underline the assaultive nature of the film's content, much of its camera work is deliberately in-out, with few pans or much lateral/horizontal movement. Because of the copy-cat violence that the film was blamed for, Kubrick withdrew it from circulation in Britain about a year after its release. [Shortly after the ban was instituted, a 17-year old Dutch girl was raped in 1973 in Lancashire, at the hands of men singing Singing in the Rain. And a 16-year-old boy had beaten a younger child while wearing Alex's uniform of white overalls, black bowler hat and combat boots. Both were considered 'proof', after the fact, that the film had an influential effect on violence in society.] In preparation for a new 1972 release for US audiences, Kubrick replaced about 30 seconds of footage to get an R-rating, as opposed to the X-rating that the MPAA initially assigned to it. (The replacement footage was for two scenes: the high-speed orgy scene in Alex's bedroom, and the rape scene projected at the Ludovico Medical Center.) In the spring of 2000, an uncut version of the film was re-released to British screens.

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Red Circle

La Ragazza che sapeva troppo (1963)

"Take my advice, miss, and for your own good don't read any more (murder mysteries)." - Dr. Fracchetti

The Girl Who Knew Too Much (US Title: The Evil Eye) is a italian giallo film. Directed by Italian filmmaker Mario Bava, the film stars John Saxon as Dr. Marcello Bassi and Leticia Román as Nora Dralston. The plot revolves around a young woman named Nora, who travels to Rome and witnesses a murder. The police and Dr. Bassi don't believe her since a corpse can't be found. Several more murders tied to a decade-long string of killings of victims chosen in alphabetical order by surname follow. The Girl Who Knew Too Much is considered to be the first giallo film, a film genre with a mixture of thriller, sexploitation and horror conventions. This was Bava's last film shot in Black-and-white.

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Password: cinegore.tk

Eraserhead (1977)

Eraserhead is an american surrealist-horror film written and directed by David Lynch, and released in 1977. In 1971, Lynch moved to Los Angeles to study for an MFA (Masters of Fine Arts) degree at the AFI Conservatory. At the Conservatory, Lynch began working on his first feature-length film, Eraserhead, using a $10,000 grant from the AFI. The grant did not provide enough money to complete the film and, due to lack of a sufficient budget, Eraserhead was filmed intermittently until its release in 1977. Lynch used money from friends and family, including boyhood friend Jack Fisk, a production designer and the husband of actress Sissy Spacek, and even took a paper route to finish it. The film stars Jack Nance and Charlotte Stewart. Eraserhead polarized and baffled many critics and movie-goers, but has become a cult classic. In 2004, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Lynch has called it a "dream of dark and troubling things" and his "most spiritual movie." Is it a nightmare or an actual view of a post-apocalyptic world? Set in an industrial town in which giant machines are constantly working, spewing smoke, and making noise that is inescapable, Henry Spencer lives in a building that, like all the others, appears to be abandoned. The lights flicker on and off, he has bowls of water in his dresser drawers, and for his only diversion he watches and listens to the Lady in the Radiator sing about finding happiness in heaven. Henry has a girlfriend, Mary X, who has frequent spastic fits. Mary gives birth to Henry’s child, a frightening looking mutant, which leads to the injection of all sorts of sexual imagery into the depressive and chaotic mix.

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The Call of Cthulhu (2005)

The H.P. Lovecraft Historical Society presents its all new silent film of The Call of Cthulhu. The famed story is brought richly to life in the style of a classic 1920s silent movie, with a haunting original symphonic score. Using the "Mythoscope" process — a mix of modern and vintage techniques, the HPLHS has worked to create the most authentic and faithful screen adaptation of a Lovecraft story yet attempted. The Call of Cthulhu is HP Lovecraft's most famous story. It is the only story to feature the celebrated monster Cthulhu and in many ways it encapsulates the ideas that went on to permeated Lovecraft's Cthulhu Mythos. The film follows the story's three-part narrative construction, and it moves from the 1920s to 1908 to the1870s and back, as the story does. The story embodies HPL's nihilistic world view, his cosmic perspective, and his sense that mankind is doomed by its own insignificance. And it's a pretty good globe-trotting adventure story.

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subtitles

Lot in Sodom (1933)

Lot in Sodom is a short silent experimental film, based on the Biblical tale of the city of Sodom and Gomorrah. It was directed by James Sibley Watson and Melville Webber. The movie uses experimental techniques, Avant-Garde imagery and strong allusions to sexuality, especially homosexuality. Opening on a very attractive model of the walled city & then cutting to expressionist sequences capturing the temple mysteries, consisting of homosexual dancers. In a length very overt invocation of a gay orgie, the camera lingers over naked male flesh & clinging bodies in ways that seem improbable for 1933, but this is before the Hayes Code banned homosexuality from the screen. Lot in Sodom (1933) came out in the sound age & we do hear Lot praying & there's a contemporary musical soundtrack. But in the main this is a silent film. When an angel (Lewis Whitbeck) visits Lot (Fredrich Haak) it's spooky as all hell. The coweled angel's unfriendly air doesn't keep a buff bare-chested Sodomite from trying to seduce him in the night near Lot's house. Lot intercedes, offering his daughter instead. Although the Sodomites aren't exactly positive role models, compared to Lot they're not all that bad. He's one scary rat-bastard who seems more upset that the men of Sodom are happy, & he's not, than he is concerned with godly behavior.

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Erasersnap

Le Samouraï (1967)

Jean-Pierre Melville (1917-1973) directed thirteen feature films between 1947 and 1972, most of them ranking among the best in postwar French cinema. In particular, his brilliant gangster films Bob le flambeur (1956), Le Doulos (1963), Le Deuxieme souffle (1966), Le Cercle rouge (1970), and especially Le Samourai (1967), with their cool, minimalist noir style are defining instances of the French policier. A great Americanophile, the idiosyncratic Melville, who renamed himself after the writer Herman Melville, used to drive round Paris in the 1960s in a Stetson hat and a huge convertible American car. Le Samourai is the story of Jef Costello (Alain Delon), a Parisian contract killer who realises he is being double crossed by his employers and seeks revenge. The film was highly controversial at its release in 1967. The prestigious Cahiers du cinema dismissed it as ‘just another thriller’ and later preposterously claimed Melville would be better employed making commercials for raincoats – at the same time, more enlightened critics compared him to Picasso in his modernity. Today Le Samourai is, rightly, regarded as one of the greatest French films.

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1 2 3 4 5 6 7 8 Password: www.softarchive.net

HWY: An American Pastoral (1969)

This is Jim Morrison's independent film HWY An American Pastoral starring Himself as The Hitch hiker. An extremely rare video that is out of print and very hard to find. This movie is based along the lines of the song Rider on the Storm. This film is very unique and interesting knowing this film is from the mind of Jim Morrison. Just watching the Great legend be himself in the film is awsome. The running time of this video is Approximately 51 minutes. This is very old footage the quality of this film is Great. If you are a Jim Morrison and The Doors fanatic like myself, this video would be much appreciated. Like the man himself, An American Pastoral is complex and mysterious. Morrison hits the road like Kerouac, wandering, searching for meaning.
Morrison’s Mustang Cobra cruises the highways of a forgotten America, the unknown lurking behind every rock edifice and cactus that dots his journey. He’s almost like Caine in Kung-Fu, except the Asian landscape is now America. Jim Morrison is on the spiritual warpath. To see the mind of the poet at work without his bandmates is a rare gift. Jim and The Doors are/were inseperable, but this little magna carta on freedom shows us his solitary genius and glorious madness. The soundtrack is eerie, unsettling, not quite right. But considering the artist at the heart of the film, I’m not surprised. HWY is very special.

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The Cube (1969)

The Cube was an hour long teleplay that aired on NBC's weekly anthology television show NBC Experiment in Television on February 23, 1969. The production was produced and directed by puppeteer Jim Henson, and was one of several experiments with the live-action film medium which he conducted in the 1960s, before focusing entirely on the Muppets and other puppet works. The screenplay was co-written by long-time Muppet writer Jerry Juhl (who also appears in a cameo). The teleplay starred Richard Schaal as a man trapped in a cubical white room that anyone else could enter and leave, but which he himself apparently could not leave. The main character, simply named "The Man," is subjected to an increasingly puzzling and frustrating series of encounters as a variety of people come through various hidden doors. But as many remind him, he can only leave through his own door, so he must find it.

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A Space Monkeys

Le Cercle Rouge (1970)

Le Cercle Rouge is a crime film set in Paris, France. It was directed by Jean-Pierre Melville and starred Alain Delon, Bourvil, Gian Maria Volonte and Yves Montand. It is perhaps best known for its final heist sequence which is about half an hour in length. The film's title means "The Red Circle" and refers to the film's epigraph which translates as "Siddhartha Gautama, the Buddha, drew a circle with a piece of red chalk and said: 'When men, even unknowingly, are to meet one day, whatever may befall each, whatever the diverging paths, on the said day, they will inevitably come together in the red circle.'" In fact, the Buddha said no such thing; Melville made it up, just as he did with the epigraph in his film Le Samourai. Corey is a cool, aristocratic thief, released from prison on the same day that Vogel, a murderer, escapes from the custody of the patient Mattei, a cat-loving police superintendent. Corey robs Rico, his mob boss, then enlists Vogel and an ex-police sharpshooter, Jansen, in a jewel heist. While Corey is harried by the vengeful Rico, Mattei pressures Santi, a nightclub owner and pimp, to help him trap the thieves. Over all hangs the judgment of the police directeur, that every man is guilty.

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Re-Animator

A Rain Battle...

Ringu

Caligula (1979)

Caligula is a film directed by Tinto Brass, with additional scenes filmed by Giancarlo Lui and Penthouse founder Bob Guccione. The film concerns the rise and fall of Roman Emperor Gaius Caesar Germanicus, better known as "Caligula". Caligula was written by Gore Vidal and co-financed by Penthouse magazine, and produced by Guccione and Franco Rossellini. It stars Malcolm McDowell as the Emperor. Caligula remains the only major motion picture to feature eminent film actors (Sir John Gielgud, Peter O'Toole, Malcolm McDowell, Helen Mirren) in a film with graphic and explicit sex. A reputedly faithful cinematic depiction of the historical events of Caligula's Rome, including the decadence and debauchery that marked his reign. This notorious release has faced rather hysterical hostility from would-be censors. Financed by Penthouse Magazine magnate Bob Guccione, who was accused of inserting hardcore sex scenes after completing photography with the impressive and esteemed cast of British actors. Contains graphic sex and violence. The R-rated version is shorter by 53 minutes! The rise and fall of the notorious Roman Emperor Caligula, showing the violent methods that he employs to gain the throne, and the subsequent insanity of his reign - he gives his horse political office and humiliates and executes anyone who even slightly displeases him. He also sleeps with his sister, organises elaborate orgies and embarks on a fruitless invasion of England before meeting an appropriate end. There are various versions of the film, ranging from the heavily- truncated 90-minute version to the legendary 160-minute hardcore version which leaves nothing to the imagination (though the hardcore scenes were inserted later and do not involve the main cast members).

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CD 1: 1 2 3 4 5 6 7 8 CD 2: 1 2 3 4 5 6 7 8

Full Metal Yakuza (1997)

Full Metal Gokudô is a japanese action and science fiction film directed by Takashi Miike. It was written by Itaru Era and based on a story by Hiroki Yamaguchi. Originally released in Japan's direct-to-video market (V-Cinema), the film has gained more popularity because of the reputation of its controversial director. Shot on digital video and produced on a tiny budget, Full Metal Yakuza (aka Full Metal Gokudô) is hardly one of Takashi Miike’s most important films, but it’s an entertaining-enough slice of sci-fi trash. The biggest influence here is of course Robocop – emotionally fragile man-machine seeking vengeance from those who turned him cyborg. But unlike the hero of Full Metal Yakuza, Robocop wasn’t endowed with a huge cock, nor was he told to hold a hand to his head and sing a Russian ballad whenever he was feeling over-emotional. This is one of Miike’s most overtly comic films – the pre-cyborg Kensuke is a bumbling oaf, while Hiraga is a super-camp self-proclaimed genius who seems to have only created his robot for a bit of company. Best of all is the technique that he teaches Kensuke to protect his head in combat, a hilarious mincing girly-skip that causes much confusion amongst his foes.

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Colonel Kurtz Dies

"They were going to make me a major for this and I wasn't even in their fucing army any more. Everybody wanted me to do it, him most of all. I felt like he was up there, waiting for me to take the pain away. He just wanted to go out like a soldier, standing up, not like some poor, wasted, rag-assed renegade. Even the jungle wanted him dead, and that's who he really took his orders from anyway."

Blood Simple.

Tetsuo OST

Chu Ishikawa picked up his first synthesizer at the age of 15, and entered the music scene with his first band at the age of 18. The alternative metal percussion unit, Zeitlich Vergelter, received a warm welcome from the indie scene, alongside bands such as the Ruins and the Boredoms. After their break up, Chu continued as a solo percussion artist, and wrote his first soundtrack in 1988 for the cult classic Tetsuo, (directed by Shinya Tsukamoto.) His work was hailed worldwide for its Armageddon-esque feel. He was of course selected to work on the sequel, Tetsuo II:Body Hammer, where Chu pursued the expressions of metal acoustics with his self made instruments. (The soundtracks are compiled in the CD TETSUO/Music by Chu Ishikawa, released October 1992.) For Tsukamoto's new film, Tokyo Fist, he was asked to compose without his precious metals, but nonetheless came through with a brilliant soundtrack.Chu's creative energy is funneled into his newest band, Der Eisenrost, a thrash/industrial metal percussion quartet. Much is in store, as he is currently involved in numerous musical ventures, writing for films, plays, games, and even fashion shows.

Tetsuo: The Iron Man
1. Megatron (05:04)
2. The Sixth Tooth (06:34)
3. Rana-Porosa Porosa I (05:47)
4. Mausoleum (04:16)

Tetsuo II: Body Hammer
5. Lost (06:39)
6. Dinosauroid (03:16)
7. Rana-Porosa Porosa II (01:57)
8. A Burned Figure (04:05)

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Neo Yakuza

Gojira (1954)

Godzilla is a landmark japanese science fiction film directed and co-written by Ishiro Honda with special effects by Eiji Tsuburaya, produced and distributed by Toho Company Ltd. It was the first of many "giant monster" movies (known as kaiju) to be produced in Japan, many of which also feature Godzilla. Essentially a Japanese remake of Hollywood's 1953 classic 'The Beast From 20,000 Fathoms', 'Gojira' took the same formula and became so much more than simple giant-monster entertainment. Both films told stories about a pre-historic creature released/mutated by atomic testing. 'The Beast From 20,000 Fathoms' followed the appearance of a dinosaur released by an atomic blast. This dinosaur proceeded to destroy some stuff, turned up in New York, and destroyed New York too. Fun, but that was it, and not much more (I'm not saying its a bad film). On the other hand, 'Gojira' used the same idea, and had a great impact in Japan. Gojira represented a real threat, a danger that Japanese of the time knew all too well. The message behind 'Gojira' was warning of the dangers of nuclear testing and nuclear weapons. Conversely, the message of 'The Beast From 20,000 Fathoms' is one for aspiring comic-book writers: exposure to radiation is a cheap but easy way to explain your character's freaky superpowers.

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Jones...

Ikarie XB 1

Here's an amazing scene from an ultra-rare, kitschy, trippy, Soviet-style SF film, Ikarie XB 1 (aka Ikaria XB1, Icarus XB1 and Voyage to the End of the Universe). Czechoslovakia's first science fiction film, this remarkable 1963 movie tells the story of Starship Ikaria XB 1's 2163 trek to Alpha Centari. ("Voyage" was the savagely cut, English dubbed version released by American International Pictures.)The film is generally apolitical, except for this remarkable scene, in which the explorers enter a derelict 20th Century space craft, littered with evidence of capitalist immorality. The visuals are striking. Corpses of tuxedo-clad, gambling westerners, their bodies preserved by open vacuum. The crew killed by their own chemical hand-weapons as they fought over dwindling oxygen. The ship laden with nuclear weapons -- still active after centuries.Ikarie XB 1 is an ambitious, thoughtful, intelligent film that was decades ahead of its time. It's an ultra-rare "must-see" for any serious SF fan, with high-concept elements galore: a trip to proxima centaura; time dilation; future foods, fashion, music and dance; first-contact protocols; increased longevity; artificial intelligence; bulky socialist robots.It's said the screenplay was inspired by the work of Stanislaw Lem, including "The Magellanic Cloud" from 1955.

Crash (1996)

Crash is a film written and directed by David Cronenberg based on the J. G. Ballard 1973 novel of the same name. It tells the story of a group of people who take sexual pleasure from car accidents, a notable treatment of paraphilia which caused considerable controversy on its release. The film stars James Spader, Holly Hunter, Elias Koteas, Deborah Kara Unger, and Rosanna Arquette. Crash opened to mixed and highly divergent reactions from critics. While some praised the film for its daring premise and originality, others criticized its combination of graphic sexuality with violence. Although it was nominated for the Golden Palm at the Festival de Cannes, it instead won the special prize for daring, audacity, and originality. The film's notably eerie music score was composed by Howard Shore. Certainly not for the easily offended, Crash nevertheless continues one of the most fascinating filmographies in contemporary cinema - a work that fits comfortably along side films like Dead Ringers and Naked Lunch, films that peer into psychological corners of society not before exposed to the light. Dark, scary, ugly and beautiful, Cronenberg's cinema realizes some of our darkest thoughts.

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Scanners GIF Snapshot !!!

Dead Man (1995)

Dead Man is a 1995 film written and directed by Jim Jarmusch. The movie is something of a Modern Western, dubbed a "psychedelic Western" by director Jarmusch, which includes twisted elements of the Western Genre. The film is shot entirely in black-and-white. Some consider it the ultimate postmodern Western, and related to postmodern literature such as Cormac McCarthy's novel, Blood Meridian. The decision to make this movie in black and white is quite brilliant. First of all, it adds a dream quality to the story (most people dream in black and white) - a color of memory or hallucination, or rather a color of something forgotten. Secondly, B&W film creates perception of being in Hell and may symbolize fight of light and darkness, good and evil. Thirdly, it may be interpreted as color of print on paper - like in graphic novels. Sin City used the same device. And finally, judging by the “special effects” used in the early movies, the director wanted to create a feeling of a movie actually made in 1920s. The dialogs, on the other hand, are quite contemporary. The electric guitar theme helps to establish this connection of time. The movie is extremely slow - a technique used by masters like Andrei Tarkovski to make viewers focus on one aspect of a scene. Like Tarkovski’s movies, Dead Man if full of metaphor and symbolism. At the same time, subtle actions of characters or something they say, even if a single word, tell a story of their own - very thoughtful movie. The story grasps you and never lets go. The film won Palm d’Or at 1995 Cannes Film Festival and New York Film Critics Award for Best Cinematography in 1996.

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"It is preferable not to travel with a dead man" - Henri Michaux

The Machine Girl (2008)

Kataude mashin gâru

There are revenge flicks, and there are revenge flicks. It's an old formula, and it still works beautifully. Person has happy life, person's happy life gets fucked up, person seeks vengeance on the bastards (usually organized crime) who did the deed. The formula works especially well if the protagonist is a woman, and for several years now this tiny sub-genre has done pretty well. Raquel Welch did okay with Robert Culp's and Christopher Lee's help in Hannie Caulder; some rapist punks got their comeuppance just fine in the deadly-serious I Spit On Your Grave, to name two examples. When Tarantino did Kill Bill, we thought that maybe we'd seen the ultimate expression of the idea. At least, not in an ultra-cool, pop-culture-suffused, Japanese-themed way, despite Quentin's hard work. The title for all-time greatest chick-revenge flick now goes to a recently-released (on DVD) gem called Kataude mashin gâru, or Machine Girl. Machine Girl takes the best, wildest, and most visually-charged elements of Asian movies - mostly Japanese samurai and yakuza flicks, but also the more popular Hong Kong action fare - and blends them all into a super-satisfying treat for viewers. The violence is so over-the-top that it become cartoonish; the characters are outlandish, comic-booky - and that's meant in a good way. The young women are all gorgeous, the villains are truly villainous, the heroes are usually heroic (usually), and nobody, but nobody, gets to die peacefully in their sleep. More likely, they get a katana blade stabbed straight down through the tops of their heads, their blood spurting out in a soft red fountain.

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The Battleship Potemkin (1925)

Bronyenosyets Potyomkin sometimes rendered as The Battleship Potyomkin film, but also used it to test his theories of ", is a 1925 silent film directed by Sergei Eisenstein and produced by Mosfilm. It presents a dramatised version of the Battleship Potemkin uprising that occurred in 1905 when the crew of a Russian battleship rebelled against their oppressive officers of the Tsarist regime. Potemkin has been called one of the most influential films of all time, and was named the greatest film of all time at the World's Fair at Brussels, Belgium, in 1958. Eisenstein wrote the film as a revolutionary propagandamontage". The revolutionary Soviet filmmakers of the Kuleshov school of filmmaking were experimenting with the effect of film editing on audiences, and Eisenstein attempted to edit the film in such a way as to produce the greatest emotional response, so that the viewer would feel sympathy for the rebellious sailors of the Battleship Potemkin and hatred for their cruel overlords. In the manner of most propaganda, the characterization is simple, so that the audience could clearly see with whom they should sympathize.

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A wide shot of the massacre on the "Odessa Steps".

Happy New Year ...seriously!

...and from all team of Ethyl Alcohol Entertainment Ltd Co.