Tag Archives: October

‘Rhythm, rhythm and pure rhythm above all’: How Edmund Meisel scored Eisenstein’s October

This is a guest post for Silent London by John Leman Riley, a writer and editor, specialising in Eastern European culture, and film sound.

Film theory is usually visually driven, and the Soviet kind – with its emphasis on editing – especially so. And since the theorisers were often directors, they are better known than the men (and, inevitably, they were almost always men) who argued about the music. So much so that the best-known Soviet film-sound-theory text is 1928’s A Statement by Eisenstein, Pudovkin and Alexandrov (“on Sound” is often added to translations to clarify the subject). With its dream of asynchronous, anti-realistic sound, it was an idealistic text, and its ideas would never be fully followed through.

But beyond that is a huge bibliography of articles, pamphlets and books about the aesthetics of film music, and the competing technologies being developed for synchronised sound. The critical tracts were often written by properly trained musicians with practical experience in the cinema but their writings are rarely translated, and remain largely unknown outside Russia.

Sergei Eisenstein
Sergei Eisenstein

What were these competing theories about film music? Nowadays, we tend to look at the degree to which the music reflects and reinforces the images but, as A Statement argues, it could counter them. And there was a third option: the music could go its own way, fitting the film where it touched. This approach was taken by a Kiev cinema whose 60-piece orchestra simply played Tchaikovsky symphonies regardless of what was on screen, which must have made for some bizarre audiovisual moments! How successful these approaches were depended to some degree on whether the film was being accompanied by a composed score, a selection from albums or improvisation (what composer-critic Leonid Sabaneyev – a regular film-music critic – called “tasteless vamping”).

But today we’re discussing October, so we’ll go back to Eisenstein. His writings are polymathic: I opened a random page to find references to and quotes from Gounod, Bach, Tolstoy’s War and Peace, Dickens’ Hard Times, Pushkin’s The Bronze Horseman and The Little House at Kolomna, and Dumas père in a discussion of structure, movement and the visualisation of non-visual phenomena. Unsurprising then, that he put some thought to film music (or rather, as A Statement showed, film sound). Indeed, the audiovisual was a topic with which he had long been obsessed.

battleshippotemkin
Battleship Potemkin (1925)

Continue reading ‘Rhythm, rhythm and pure rhythm above all’: How Edmund Meisel scored Eisenstein’s October

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Battleship Potemkin and a Century of Revolution at the Regent Street Cinema

Silent cinema was a revolutionary medium – bringing a world of news, travel, culture, art and storytelling to a mass audience, a working-class audience. This democratic art form changed the way we learned to look at ourselves and to tell stories about who we are, as well as sharing stories of fantasy, hope and change.

Therefore it’s appropriate that Kino Klassika’s year-long celebration of insurgency on film begins with a film that was both politically and artistically revolutionary: Sergei Eisenstein’s galvanising masterpiece Battleship Potemkin. The film screens next Friday, 17 February at the wonderful Regent Street Cinema, with a live score by Max Reinhardt the Instant Orchestra. It’s sure to be invigorating experience, and a wonderful way to kick off this exciting season A World to Win: A Century of Revolution on Screen, which includes films by Ken Loach, Jean-Luc Godard and Costa Gavras.

October (1927)
October (1927)

The season concludes with silent cinema too: a screening of the epic October: Ten Days that Shook the World, with the London Symphony Orchestra at the Barbican Centre on 26 October 2017, which is exactly 100 years to the day after the start of the Bolshevik Revolution.

Marx proclaimed that the proletariat had “a world to win”. On the 100th anniversary of the Russian Revolution, Kino Klassika hosts a season of cinematic masterpieces from around the world, as well as workshops and curated talks, which investigate that impulse of profound change. The season will be hosted at London’s iconic Edwardian cinema hall on Regent St before a planned regional tour. The season explores the revolutionary spirit through the camera lens. It asks what these films can mean today.

Here is the full list of films in A World to Win screening at the Regent Street Cinema:

  • 7.30pm on Friday 17 February: Gala Opening Battleship Potemkin by Sergei Eisenstein (1925)
  • 7.30pm on Wednesday 22 February: I am Cuba by Mikhail Kalatozov (1964)
  • 8.15pm on Wednesday 1 March: Weekend by Jean-Luc Godard (1967)
  • 7pm on Wednesday 8 March: Beginning of an Unknown Century by Larisa Shepitko and Andrei Smirnov (1967)
  • 7.30pm on Wednesday 22 March: Black God White Devil by Glauber Rocha (1964)
  • 7.30pm on Wednesday 29 March: Z by Costa Gavras (1969)
  • 7.30pm on Wednesday 5 April: Danton by Andrzej Wajda (1983)
  • 7.30pm on Wednesday 12 April: Land and Freedom by Ken Loach (1995)
  • 2pm on Saturday 15 April: Gala Screening of Novecento by Bernardo Bertolucci (1976)

The Barbican is also commemorating 100 years since the Russian Revolution, with a series of first-rate screenings of great Soviet silents: A Sixth Part of the World, accompanied by John Sweeney, Mother, with music by Stephen Horne, and The New Babylon, with Shostakovich’s lost piano score performed by Sasha Grynyuk.

Mother (1926)
Mother (1926)