Maaz Zakir

Odesa staircase scene in light of Soviet Montage Techniques In truly defining, what editing really means? There is arguably the most crucial part played by the Soviet filmmaker Sergei Eisenstein. He is known for his powerful and effective implementation of montage therefore being skilled is swaying the feelings of the audience by the juxtaposition of individual images that would give a unique meaning when seen collectively. Similar to the Kuleshov Effect which was demonstrated by Lev Kuleshov, with the means of taking a short shot of a well-known Russian Idol at the time staring intensely outside the frame, and by pairing it with other scenes. This shot was coupled with a shot of a bowl of soup, a girl in a coffin and a woman on a couch, and the audience was asked what was being felt by the idol? And the response was hunger, sorrow, and desire respectively to each of them. Showing the meaning of the image is exponentially increased compared to what is held by them individually, thus reinforcing the power of editing i.e. the montage. In Eisenstein's eyes, the film has always been a language that transfers emotions, messages, and ideas, while the importance of proper editing is that it is the grammar of that language. To thoroughly analyze the montage techniques present in the Odesa staircase scene, first, we need to define the different ways to do a montage according to the Soviet Montage Theory, thus here is a brief overview of it. Montage is defined as a technique of film editing where a series of images weaved in a specific order to give light to an individual context in the specific section of the film. Before the theory most editing was only done through continuity in the scene, like a character focuses his sigh off camera and the scene changes to give exposure to that but for Soviet Theory it is important that a visible cut is made such that the difference in scene is prevalent, while it would only be connected through various other means. Moreover, there exist the seven primary methods of montages according to the Soviet Montage Theory namely Metric montage, Vertical montage, Attractions montage, Rhythmic montage, Tonal montage, Over Tonal montage and Intellectual montage. Metric montage is based purely the physical time spent between each cut, furthermore, the fast pacing gives tension and intensity to a scene if used; Vertical montage is used to giving a much closer look the image as the shot is vertical and also focuses on a singular moment; Attractions montage are used to develop a narrative and a setting to move the audience emotionally among numerous other ways; In the Rhythmic montage scene is edited coherently to the background music like seen in most movie trailers; Tonal montage utilizes the conveying of feeling behind the shot in a more complex manner compared to others; Over Tone, montage takes the tonal method even further through incorporation of rhythmic, tonal and metric montages; and lastly in the Intellectual montage, the shots are connected through symbolism convey a specific agenda through imagery. Odesa Staircase has arguably the greatest amount of influence among all the silent films in the era, the slaughter depicted in the scene is perhaps the perfect refining of Eisenstein's signature style and Soviet montages in usual. The sequence switches between some distinct characters yet being sorted out around one line of activity, as the soldiers steadily tramp down the staircase. The crowd is portrayed in a similar manner that it was portrayed when we saw them earlier in the film. People were terrified running for their lives down the staircase but this inspires less empathy from the audience because of the generalization. To counter this effect we see a greater focus on the suffering of individual characters and to compare we see the cruel soldiers walking in unison with no sense of humanity from them but more of a feeling of sympathy fewer machines. Comparing them to complacent offices of the Potekim the soldiers on the screen are much more ruthless in eliminating the threats. And also they are extremely focused and efficient in their approach. The scenes are attached such that we cannot get a true sense of the length that is of the staircase, as all the sections are almost identical and while people are running relentlessly but it is not implied how far they are to escaping successfully. We get a feeling of endlessness as the massacre continues and people sun but none are seen to have escaped successfully. But to the scene does not seem stale for a second because of the combination of Rhythmic and Metric montages. The background music continues but it gives a feeling of the scenes being offbeat, but please make no mistake. This is not due to any amateur error but the Rhythmic montage is used uniquely while also fulfilling its purpose. The scene and Background music being incoherent give a sense of misplacement like the audience feel something is wrong but most cannot identify it. This is a brilliant use of Rhythmic montage to elude the feeling of injustice that is present visually coupled perfectly with the acoustics. After this, we see that the time between the shots is decreasing exponentially in other words the cuts are appearing more frequently. Additionally, with no respect given to the contexts of them, thus painting a picture of nonsensical chaos that is too widespread to be comprehended. This use of Metric montage creates tension in the mind of the audience until it is released at the climax, further engaging the viewer making wonder what will happen next? While also struggling to keep up with what is currently happening? Towards the end of the clip, I can see two exceptional examples of Intellectual montages in the form of statues. And for both of them, the statues are trying to depict the physical act of movement in the montage of three shots each. The first frame is of an angel statue that shown to mimic an action of a person turning away to safeguard himself, thereby giving a message of the counter-attack that happens. And next is of a three-frame shot of a demonic lion statue appearing to stand up from the resting position while also being attentive. This might symbolize the waking up from the shock of the arrogant kingship that is in power. Unknowing to the power of the common people.