Eisenstein's most purely enjoyable film, possibly because the theorems are more lifelike. In many ways a comedy, as the villains (military, police, factory owners, underworld scabs) are caricatured and dehumanised, which makes the eventual horrors all the more shocking. The workers are, of course, idealised, but their paradise of laziness seems odd for a Communist work.

Montage is the thing, as ever with Eisenstein, both in terms of connecting images to create startling insights, and in making tense, exciting and inevitable the action; but there is an astonishing attention to compositional detail too, most haunting perhaps being the empty, abandoned, impotent, machine-heavy factories, or the vast-stepped drawing rooms of the bloated capitalists.