Battleship Potyomkin is a silent film which was directed Sergei Eisentein in 1925. The movie was then produced by Mosfilm. The movie essentially presents a dramatized version of the munity which took place in 1905.
During this time, the crew of the Russian battleship Potemkin had a rebellion against their officers. It was produced by Upton Sinclair and diminutive group of financiers who were ten recruited by his wife, Mary Craig.
This took place under the legal corporation which was formed by these investors, The Mexican Film Trust. Their contract was then called for a short political feature film in a circumstance to be designed and filmed by the Eisenstein and the two compatriots.
Before the Mexican Film Trust clogged the production, the Trust had run out of money. Also, the practices with the Eisentein’s were seriously unwilling to complete the film expeditiously. Eisentein having received some orders for his speed return to the USSR from Soyuzkino, he had not been featuring since 1929. However, the original intention was for the Eisenstien to move to Mexico to California so that he can edit the film, which he had taken. By bad lack, the Department of Immigration did not allow him to enter into the United States. Also, no agreement could be reached at by the Trust with Soyuzkino, which could have given permission to the footage to be sent to the USSR for his completion.
Later, other had attempt of different versions like Marie Senton’s Time in the Sun in 1939. They had the production through the permission of Trust. They originally proposed by the Eisenstein in the association with Upton during the last month when shooting was done. A decade after the video recording was then sent to the USSR by the Museum of Modern Art. This took place as a result of exchange for several Soviet films that came from the Gosfilmfond film archive. Because of the nature of the film, it was awarded with an honorable gold prize at the 11th Moscow International Film Festival which took place in 1979.
From the film, there is not supported evidence that Eisensten had any specific idea about the film which was sent in Mexico before he arrived there in December 1930. Besides that, the Sinclairs had made it loud and clear that they were earnestly expecting Eisenstein to purely concentrate on the visual imagery.
Furthermore, even through the film was to be finished by April the following year, it was not about until the time when Eisenstein had settled on some of the basic ideas concerning multi-part film, an anthropology having each part focused on a different subculture of the natives of Mexico. Towards the end of 1931, the film was finally structured in Eisenstein’s mind. The film would consist of four primary sections and a brief preliminary part and epilogue.
Significantly, it would be wise for one to say that the fact that Eisenstein wanted to produce the film, there was no advance preparation and because of this reason, the film production did not materialize as it was originally planned. Several attempts were made, but all went in vain because there was lack of preparation. All the logistics needed in place were not met for the production of the film, hence led to it failure at the primary stages.